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Full text of "Apollo's cabinet: or the muses delight an accurate collection of English and Italian songs, cantatas and duetts, set to music for the harpsichord, violin, German-flute, &c"

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Cflft*^*^'^^^' * S'- y 



■ 






THE GLEN COLLECTION 
OF SCOTTISH MUSIC 

Presented by Lady Dorothea Ruggles- 
Brise to the National Library of Scotland, 
in memory of her brother, Major Lord 
George Stewart Murray, Black Watch, 
killed in action in France in 1914. 
2Sth January 1927. 




APOLLO'S CABINET: 

O R T H E 

M. MUSES DELIGH ^M«AA 

AN ACCURATE 

COLLECTI 

O F 

ENGLISH and ITALIAN 

Songs, Cantatas and Duetts, 

Set to MUSIC for the 

^arpticDotti, tUtoittt* eetman^jFiate, &c. 

WITH 

instructions 

FOR THE 

Voice 3 Violin, Harpsichord or Spinet, 

German-Flute, Common-Flute, Hautboy, 
French-Horn, Basson, and Bass-Violin. 

ALSO, 

A Compleat Musical DICTIONARY, 

And feveral Hundred 

ENGLISH, IRISH and SCOTS SONGS, 

Without the MUSIC. 
VOLUME I. 



LIVERPOOL: 

Printed and Sold by JOHN SADLER, in Harrbigton-Jlrcet. 
M.dcc.lvi. 

* of scon 



THE 




O R, 



tfamttta^ Jntttttittons, 



5Hoice, 

$arpficI)o?i> 3 

^atttiop, 



FOR THE 

Commott^iflttte, 
JBaffoott, 

AND 

mt$ mom* 



CONTAINING 

RULES and DIRECTIONS, 

WHEREBY 

Learners may obtain a Proficiency on any of thofe In- 
struments, without the Help of a Master. 

EMBELLISHED WITH 

^amttts, Scales, examples, &e. 







THE 

COMPLETE TUTOR, 



An introduction to ^itl^tttjj* 

HE Gamut is the Ground of all M U S I C, whether Focal or Inftrumental^ 
and muft be learned perfectly by fuch as intend to make themfelves Proficients 
in that Art j in order to which obferve the following Scale. 



T 



The Gamut for the V O I C E. 



TREBLE 



TENOR 



BASS 



G-folreut in Alt 

F-faut , 

E-la 

D-lafol — — 

C-folfa 

B-fabemi- 

A-la?nire 

G-folreut- 

F-faut 

E-lami 



Sol 
-Fa 

La 
-Sol 

Fa 
■Mi 

La 
-Sol 

Fa 

La 



G-folreut — 
F-faut 
E-lami — 
D-lafolre 
C-folfaui — 
B-fabemi 
A-lamire— 
G-folreut 
F-faut — 



-Sol 

Fa 

-La 

Sol 
— Fa. 

Mi 
-La 

Sol 
-Fa 



A-lamire 
G-folreut 
F-faut - 
E-lami 
D-folre - 
C-faut 
B-mi 
A- re 
Gamut - 



■®t 



-La 

Sol 
-Fa 

La 
-So! 

Fa 
-Mi 

La 
-Sol 



There are three Things to be obferved in this Scale : Firft, The Names of the 
Notes, which muft be learned backwards and forwards till you know them by Heart : 
Secondly, Obferve the three Cliffs, which are an Inlet to the Knowledge of the 
Notes ; for if a Note be placed on any Part of the five Lines, ( which are called a 
Stave ) you cannot call it any Thing till there is one of thefe Cliffs fet at the Begin- 
ing : For which Reafon the Lines of your Gamut are divided into three Fives, ex- 
prefling the three Parts of Mufic, viz. the Treble, the Tenor and the Bafs ; every one 
of thefe five Lines, or Staves, having a Cliff. For Example, the firft five Lines has 
the G-folreut or Treble Cliff fet at the beginning, on the fecond Line from the bot- 
tom. The fecond Stave, or middle five Lines, has the C-folfaut or Tenor Cliff fet 
on the middle Line. — This Cliff may be placed on any of the four lowejl Lines. The 
third Stave, or laft five Lines, has the F-faut or Bafs Cliff fet at the beginning, and 
is commonly placed on the fourth Line from the bottom. Thirdly, obferve the Syl- 
lables at the end of the Lines, which are the Names you are to call your Notes by : 
For Example, if a Note be placed on the fecond Line in the Scale from the Top, 

A and 



i An Introdudion to £>fttgftlg« 

and you mould be afked where it {lands, fay, in D-lafol. Now in learning thefe 
Names you muft learn the other Syllables along with them, that you may know how 
to call your Notes in Singing ; for Example, Gamut is called Sol, A-re is called La 9 
B-mi is called Mi, C-faut is called Fa, D-folrc is called Sol, E-lami is called La, 
F-faut is called Fa, &c. But, for the better understanding your Gamut, here are 
6'ight Notes (called an Octave) in thofe three Cliffs, with their Names under them. 



tjb 


G 


A 


B 


c 

— o — 


D 


E 

.. q .... 


F 
-TV— 


G 

_o 




t$E 


Sol 


— o — 

La 


AS 


Fa 


Sol 

— r s i — 


La 
— 3^- 


Fa 




II gl 

S"S B~l « 


*")-5- 


Q— 
Sal 


-0— 

La 




— Q — 

Fa 


— w — 


La 


— e— 


Sol 


ii " — i 


*- — 

» 


-a— 


"Or- 


-o— 


o 










_f^_M : 



Sol La Mi Fa Sol La Fa Sol 

In Singing you cannot make Ufe of the Words Gamut, A-re, &c. becaufe they 
are too long, therefore you muft ufe thefe fhort Syllables, Sol, La, Mi. &c. 

Of TIME. 

Example of Common TIME. Example of Triple TIME. 



A Semibreve is equal, ^ in Length, to 
Minims M M 



Crotchets 

Quavers 

Semi- 
Quavers 



LLLL 




A prickt Minim is 



Crotchets 



equal to 




Quavers 



Semi- 

(Quavers "sasatBEiaai > r 



There are two Sorts of Time, Common and Triple. Common Time is known by 
fome of the following Marks or Characters. The firft of thefe Marks de- 
notes the floweft kind of Movement, and contains a Semibreve (or as many other 
Notes as are equal to it's length) in a Bar, and muft be held as long as you can di- 



Marks of Common Time. 



ftin£tly tell I, 2, 3, 4. The fecond denotes a 

Movement fomewhat fafter than the former, and 

contains alfo a Semibreve in a Bar. The third 

denotes a brifk Movement, and contains but one 

Minim, or two Crotchets, &c. in a Bar. — This is 

called Retsrthe Time. The fourth Mark contains twelve Quavers (or Notes to their 

Value) in a Bar j the fifth fix Quavers in a Bar, and the laft fix Crotchets in a 

Bar. Thefe three laft Characters are fixed to Jiggs, fcfc. 

triple 



An Introdu6tion to ^ttjgt'ttJJ* 5 

Triple Time is known by the following Characters ; the firft of which has three 
Minims in a Bar, and is the floweft Triple Time in ufe. 

The fecond contains three Crotchets in a Bar, and is Marks of Triple Time. 
fixed to Minuets, and play'd quicker than the former. 3d S . ; — T 
The third contains three Quavers in a Bar, and is the 
quickeft. The fourth contains nine Crotchets in a 
Bar j the laft nine Quavers. Thefe laft are rarely made ufe of, and then to Jiggs. 

$$> A Point or Dot added to any Note, whether Minim, Crotchet, &c. makes 
it half as long again ; and muft always be put on the right Side of the Note, as in 
the following Example. 

Q r Q Example of 'Rests. 

r © I • Stwibreve. Minim. Crotchet. Quaver. Semi-qr* 




is as lon°; as , 
\ 




XX 



-sp- 



Cp3=f=t=|j 



©• 

r 

f 

Note. A Semibreve Reft io a whole Bar, in any Time whatever. 
Single Bar. Double Bar. Repeats. Direcls. Paufe. Da Capo. 



2 Bars. 4 Bars 


8 Ban 


. 16 Bars. 24 Bars. 






81- ; §9 ' H 


[— *— j 1 — 


=tf-r 


: =*f* tl $^F b P^ 



A single Bar ferves to divide the Time according to it's different Meafures, whe- 
ther Common or Triple. A Double Bar ferves to divide every Strain or Part of a Song 
or Leffon. A Direct is put at the end of a Stave, and ferves to direct to the Place 
of the firft Note in the next Stave. A -Paufe fignifies that the Note over which it is 
placed muft be held out fomevvhat longer than the ufual Time. — The fame Mark 
alfo denotes the End of a Tune. A Repeat fignifies that fuch a Part of a Song or 
LefTon muft be perform'd over again from the Note over (or before) which it is put. 
Da Capo fignifies the Tune does not end there, but muft be begun again, and play'd 
till you come to the Mark T" mention'd above to denote the End of the Tune. 

Of FLATS and SHARPS, &c. 

These Characters, marked as in the Margin, are very fignificant in Muhc, and 
jnuft be particularly regarded. If a Flat be placed before any Note it denotes that 
fuch Note (and all the following, in the fame Bar, except mark'd to the contrary) 
muft be fung or play'd half a Note lower than 
it's Natural Pitch. The Sharp is of a contrary 
Nature ; for whereas the Flat takes away a 
Semitone, or half a Note, from the Sound of 
the Note before which it is fet, the Sharp adds 
a Semitone to whatever Note it is fet before : For Example, if a Flat (or Flats) be 
fixt at the beginning of any of the five Lines, it not only affects every Note on fuch 
Line or Space, but alfo all the Notes of that Denomination thro' the whole Move- 
ment ; fo if a Flat be fixed on the middle Line, which is B, all the J5's (or Octaves) 
both above and below that Line muft be play'd flat, except mark'd to the contrary 
by a Natural. The fame is likewife to be obferved of the Sharps ; fo if a Sharp be 
fixed on the higheft Line, at the Beginning, which is F, all the .Fs are to be fung 
(harp thro' the whole Piece, except a Natural be plac'd before them to denote the 
contrary. A Natural (which fee in the Margin above) ferves to reduce any Note, 

mad© 



Naturals. 




An Introduction to 0&i 



made flat or fharp by the governing Flats or Sharps pbced at the Beginning, to it's 
primitive Sound, as it {lands in the Gamut : For Inftance, a Flat being placed on 
the Middle Line makes all the B's flat, as aforefaid ; but if the Compofer fhould 
have a Mind to have fome one, or more, of them fharp, then the Natural is fei 
before fuch Notes, inftead of a Sharp. 

Of keeping Time in Singing. 

Having obferved all the Varieties of Time, I fhall prefume to fay that no Mufic 
can ever be agreeable to the Performer unlefs he firft makes himfelf Mailer of it ; 
neither is it poiTible for feveral Performers to agree exactly together without it : In 
Order to which obferve the following Rules. In a flow Common Time you muft 
divide the Bar in four equal Parts, telling 1,2, 3, 4, diftinctly, putting your Hand 
or Foot down when you tell one, which muft be at the beginning of the Bar, and 
lifting it up when you tell 3, which muft be in the Bar. In a quick fort of Com- 
mon Time you may divide your Bar into two equal Parts, only putting your Hand 
or Foot down at the firft half of the Bar and lifting it up at the fecond half ; but you 
muft be exact in moving up or down. Triple Time, whether quick or flow, muft 
be divided in three equal Parts, telling 1, 2, with your Hand down, and 3 with it 
up : In this Sort of Time you muft obferve that you keep your Hand up but half 
the time you keep it down. 

Of Tuning the Voice. 

Before you can tune your Voice rightly you muft know which are whole Tones 
and which half Tones. From G to A is a whole Tone, from A to B is a whole 
Tone, from B to C is half a Tone, from C to D is a whole Tone, from D to E 
is a whole Tone, from E to F is half a Tone, from F to G is a whole Tone, and 
fo on with ever fo many Notes, which muft afcend in the fame Proportion of Sound 
as the firft eight Notes do, all other Sounds being only a Repetition of the fame. 

For the better remembring which are half Tones and which not, obferve that the 
half Tones are included by the Fa and the Note below it ; for from Mi to Fa, and 
from La to Fa, are half Tones afcending ; and from Fa to Mi, and from Fa to La y 
are half Tones defcending : All the reft are whole Tones, as in the Example. 




Sol Fa Mi La Sol 



When you have founded the firft Note you muft rife by whole Tones and half 
Tones, as obferved above, till you afcend to the Top of your Leflbn, and then 
down again with the other, laying your Hand down when you begin to found the 
firft Note, and taking it up when you have half fung it ; then laying down as you 
begin the next, and up again, and fo on with the reft, holding them all of an equal 
length, becaufe they are all Semibreves : But for fear you fhould not fing them ex- 
actly in Tune, you ought to get the Afliftance of a Perfon fkill'd in Mufic, and let 
him fing or play your eight Notes with you till you remember them fo well as to 
do them without him ; then you may proceed to the following Leflbn. 

L E S" 




An Introdudion to ^>togftlg* 

LESSONS. 



^ 



td 



=P Q. 



-e— 



^jQ 



=0: 



3^ 



.Sol 



i^l 



:Cr 



-O- 



y«/ fa la fol fa la fol 



g5gEg^El| 



-bCj==^:=E# 



3 



Sol la fa fol la fa fol 



fa la mi fol 



In the above Leflbn you may obferve two Minims in a Bar, which are to be fung- 
one with the Hand or Foot down and one up : But for fear you fhould not hit 
thefe Notes exactly in Tune, by Reafon of their (kipping a Note every Time, ob- 
ferve the following Example. 



^^^g^ a^i^a^^E^ 



■ f — O - 



XX 



Sol la mi fol mi la mi fa la fa mi fa fol mi fol fa fol la fa la: 



fol la fa fol fa la fa fol la fol Sol fa la fol la fa la fol fa fol 



W^- 



i^H= 




£-2 



la fol fa la fa fol fa mi fol mi fa mi la fa la mi la fol mi fol 



When you have fung the three firft Notes, leave out the fecond Note and fkip 
from the firft Note to the third, which will be the fame thing as the firft Bar in the 
former LefTon. Obferve, in the following Leflbn, that you fing the two firft Notes 
with your Hand or Foot down, and the third with it up, &c. keeping an exacl 
Time throughout your Leflbn. Obferve alfo the fame Manner in learning all Dis- 
tances, and then leave out the intervening Notes, as in the following Examples.. 



±: 



& 



3 



4th- 





^L 



S^^q^fe^ 









dh=tz£: 



3 



± 



rfk 



m 



gg^p ^gsligggfe^i ^g 






When you can fing the above Leflbns in Time and Tune, you may proceed 
to fome eafy Tunes or Airs. 

m 



6 



An Introduction to ^ittgt'ttJJ* 

Of the K E Y S ufed in Music. 



There are properly but two Keys in Mufic, one Flat, the other Sharp ; but by 
the help of Sharps and Flats they have been encreafed to the number of Sixteen j of 
which eight are Flat Keys, and eight Sharp Keys, as follow. 

A Scale of the FLAT KEYS. 



A-re, the Natural ' ~ 
Key, aflat third, i 






~-CZ- 



-©- 



^-tQz 



=CX 



B-mi Natural,, f — ; 
a flat third. 

C-FAUT, 

a flat third. 



£ 



£E 



bc=ei 



~cr 




3aBE 




# 



D-solre Natural, 
a flat third. 

E-lami Natural, ( —h-^ ^£ 

a flat third. \ jy^F 

F-faut Natural 



'-©- 



=cd~o-t- 



=Cc 



=C- 



o- 



^tcd 



-s^r — i 



-o-.- 



:0==tQ 



O- 



33: 



zCttzSr 



=Ct 



a j&rf $m/. 



BgS 



M>= 



- Q-I-Gr 



vr-Q- 



-©- 



F-FAUT 

ayfe thir 



gj* (^fe 



-O 



:Q: 



-3-1- 



-O-T 



Gamut, 
with ayfo/ /,6/n/. 



I* 



aa 



o 



SEO= 



_<?- 



Oq-^: 



JCX 



A Scale of the SHARP KEYS. 



C-faut, the Nat. [ Z2~ 
Key, a /harp third. I i2 

D-SOLRE, ( jj^fc 

E-lami Flat, ( -y— Jt vFF* 
With a >»? third. I £j£EEiEE 

E-lami Natural, < 3 




F-FAUT, 

a Jharp third. 

Gamut, 
a Jharp third. 



with a Jharp third. 

B-mi Flat 
with % Jharp third, 



Note. 



An Introduction to jMttgfttft. 7 

Note. The firft Note in each of the foregoing Flat Keys is called a Ztf, the fe- 
cond Mi, &c; and the firft Note in each of the Sharp Keys a. Fa, the fecondJ^z, &c. 

N. B. A Key is known to be Flat or Sharp not by what Flats or Sharps are fct 
at the Beginning of a Tune, but by the third above the laft Note, or Key Note ; 
for if a third contains two whole Tones it is a Sharp Key, but if only a Tone and 
a half 'tis a Flat Key : For Example, if D be the Key Note, reckon from D to E 
is a whole Tone, and from E to F (as F is a Flat Note in the Gamut) half a Tone, 
which makes a Flat Key ; but if F be marked fharp at the beginning there are two 
whole Tones from D to F, which make a Sharp Key. ^ Always name your 
Key in reference to the Bafs. Note alfo, that if a Tune ends by a La it is Flat, 
but if by a Fa it is Sharp 3 for all Tunes muft end either a Note above the Mi, 
©r a Note below. * 

Of Syncopation, or Driving-Notes. 

Syncopation is when the Hand or Foot is taking up or putting down while a 
Note is founding, which is pretty hard to a Beginner ; but when this is conquer' d 
he may think himfelf a pretty good Timift. The following is an Example. 



y^ig^l^^Sifg f fei i^i 



To make the Trillo, or Shake. 

The Trill, or Shake, (marked /, or tr.) is the chief Grace in Singing, and has 

a fine Effect when well performed. To learn this you muft move your Voice eafily 

on one Syllable, the diftance of a n w r cr ■» o 7 

1 , t-/ . .1 -r, . Example of a IrilL or bbake. 

whole i one, as in the Example. r j » 



Firft move your Voice flowly, ^p^^ \ ^-{L^«M^i^{L^&^ - ^ f 
then fafter, by Degrees, and it ^g^ R^|^g^^^^^^^^^^^§ jj 

txrill romp frn vnii wit-Vi n littlp ' ■"■• »■■*■• 



will come to you with a little 
Practice ; but you muft be fure to let E and D be both heard diftin&ly. £3» The 
Trill or Shake is to be made on all defcending Prickt Crotchets, and alfo when the 
Note before it is in the fame Line or Space with it; likev/ife generally before a Clofe,, 
either in the Middle or at the End of a Song. 

Of TRANSPOSITION. 

To tranfpofe a Song or LelTon that is too high, or too low, or in a bad Key 
for a Voice or Inftrument, you muft firft fee what Compafs the Tune requires ; 
that is, how high and how low it goes, and accordingly take your Meafure ; and 
be careful that you alter it to the eafieft Keys you can, thofe that are molt natural 
to your Inftrument, and fuch as have the neareft Relation to the other. — The laft 
Note of a Tune, as before obferved, tells you what Key it is, whether A, B, C, 
D, E, &c ; therefore, fuppofe, for Example, you had a Song or LelTon in E 
Sharp, and you wanted it tranfpofed into G, which is a Third higher $ look in 
the foregoing Scale for Gamut with a Sharp Thir^d, which is the third Stave from 
the bottom ; fo placing the Sharp as at the Beginning, and writing each Note a 
Third higher than it is in the Copy, you have the Tune right, in the defir'd Key. 

- You may tranfpofe into any of the Keys in the above Scales, obferving the Dif- 
tance or number of Notes from the Key Note of your Copy to the firft Note of 
the Key you tranfpofe into, and putting the fame number of Flats and Sharps at 
the Beginning as in the Scale. 

Inftru&ions 



(8) 



Inftrii6Hons for the MiOlitl* 



* f i ^ H E Violin is juftly efteemed the fineft and moft com- 
K I plete of any Single Inftrument, having a large extent of 
\ Notes, and being capable of double Notes, Chords, &c. 

which make a great Variety. Tho' this Inftrument is common, 
it may not be improper here to defcribe the principal Parts there- 
of ; where A is the Back, B the Belly, C the Head, D the 
Nut, E the Neck, F the Fingerboard, G the Tailpiece, H the 
Sidebouts, and I the Bridge. K is Bow, L the Nut of the 
Bow. See the Cut. 

The firft Thing neceflary to be learnt is the Scale of the 
Gamut, as follows, which the Learner muft get by Heart, ha- 
ving a particular Regard to every Line and Space, as alfo to 
the refpective Notes placed on each, that he may be able to 
know them by their proper Names, G, A, B, C, £sV. readily, 
whenever he fhall fee them in any Place or Leflbn whatsoever. 

The Gamut for the V I O L I N. 




JBafs, or Fourth String. Third String. Second String. Treble, or Firji String. 




Hi^ 



2 3 



23 0123 



05 



S3 1 



1*5 



o 1 



.SJ 



3 4 



hct O"* Jr-» 

^ ^ ^ 






<5 (5 "-S. 



^ 



CS ^ RQ 



nple. 



%§> O fignifies open, 1 the firft Finger, 2 the fecond, 3 the third, and 4 the fourth, 

or Little Finger. 

The next Thing to be learnt is the Method of tuning the Inftrument, which is 
by Fifths ; thus the fourth String open is G ; the third String open D, which is a 
fifth to G ; the fecond String open A, which is 
a fifth to D ; and the firft String open E, which is 
a fifth to A, as in the Example. But if you can- 
not tune your Violin by the help of the former - . 

Directions, the following Method may aflift you. ^ ~CF W D A. E 
Meafure out the feveral Lines from the Nut which are drawn acrofs the Strings ^ in 
the enfuing Example, [p. 10] and draw a Line with Pen and Ink acrofs the Fin- 
gerboard of your Violin at the fame diftance from the Nut as the loweft Line in the 
Example : Having fo done, fcrew up the firft String to as high a Pitch as it will 



II 



^1 



moderately 




TO THE 



READER 




HERE AS Cuftom has, 
in a great Meafure, made 
it neceflary to fay fomething 
by Way of Introduction ', it 
may not be improper, here, 
to give the Reader a con- 
cife Account of the Utility 
of the following Sheets, by Way of Pre- 
lude. They contain, Firft, Inftru&ions for 
the Voice, Violin, Harpsichord, Ger- 
man-Flute, Common-Flute, French- 
Horn, Hautboy, Bassoon and Bass Vi- 
olin. Secondly r , Two Hundred elegant Eng- 
lijh and Italian Songs, Cantatas and 

Duetts. 



To the RE AD ER. 

Duetts, fet to Mufic ; with the Bafs and 
Symphonies to each ; proper for the Harpfi- 
chord or Spinnet, Violin , German-Flute ', Haut- 
boy ', &c. "Thirdly^ A complete Musical Dic- 
tionary, explaining all the foreign Words 
and Terms that occur in M ufical Compofi- 
tions : And, Laftly^ Several Hundred favou- 
rite Englijhy Irijh and Scots Songs, without 
the Mufic 5 numbers of which were never 
before publifhed. 

The Inftru&ions will be of great Service to 
fuch as chufe to learn Mufic, and have not 
the opportunity of a Mafter j alfo to Matters 
themfelves 5 as they contain the eafieft and 
beft Methods now pra&ifed by the greateft 
Performers 5 laid down in a plain and fami- 
liar Manner, and interfperled with Variety of 
proper Examples , Lefons, &c. The Songs 
fet to Mufic will fave the Expence of purcha- 
fing a number of Books for the fake of a few 
favourite Songs j as Care has been taken to 
collect fuch as are generally efteemed. The 

hi 



To the READER, 

Mufical Dictionary will be of ufe to Mufici- 
ans in general : And the additional Songs 
without the Tunes will be an Amufement to 
thofe who are not acquainted with Mufic, and 
were inferted to oblige fome fuch who favour- 
ed this Work with their Subfcriptions. 

The Publifher returns his fincere Thanks 
to his Subfcribers, afluring them he has done 
his utmoft to make the Whole ufeful and 
entertaining, and hopes it will merit their 
Approbation. 




T H 



Inftru&ions for the tUt'OlftU 9 

moderately bear ; then put your Little Finger on the aforemention'd Mark, on the 
fecond String, and fcrew it higher or lower till it gives the fame Sound (which is 
called an Unifon) as the firft String does when open : After that put your Little 
Finger on the third String, and, in the fame Manner, caufe it to give the fame 
found as the fecond String when open ; and laftly, put your Little Finger on the 
fourth String, and caufe that to have the fame found as the third String open. 

Directions for holding the Violin, and playing the Gamut. 

The Violin muftbe refted juft below the Collar-bone, turning the Right-hand fid: 
of it a little downwards, that the Bow need not be raifed very high when the. fourth 
String is to be ilruck. The Head of the Violin muft be nearly horizontal with that- 
Part which refts againft the Breaft, that the Hand may fhift with Facility, without 
danger of dropping the Inftrument. The Neck muft reft between the Thumb and Fin- 
ger of the Left Hand, a little lower than the top of the Neck, not griping it hard, but 
fo as you can move your Hand eafily, to fhift, &c ; and to find when your Hand is in 
the right pofition, that is neither too near the Nut nor too far from it, place your 
third Finger on the firft String, and, ftriking that and the fecond String open toge- 
ther, caufe them, by fhifting the Finger higher or lower, to found an Odtave or dif- 
tance of eight Notes, which you will foon be able to diftinguifh ; and fo you may 
proceed to play the Notes of the Gamut : To which purpofe it may be- proper to 
obferve that there are four Notes appertaining to the fourth String, or Bafs, namely 
G, A, B and C. — G is to be play'd open ; A muft be flopped with the firft Finger, 
about an Inch and a half from the Nut ; B with the fecond Finger, about the fame 
diftance from the firft, and C with the third Finger clofe to the fecond. The third 
String has alfo four Notes, which are D, E, F and G. — D is ftruck open ; E is to be 
flopped with the firft Finger, about an Inch and a half from the Nut ; F with the 
fecond Finger clofe to the firft, and G with the third Finger about an Inch and half 
from the fecond. The fecond String has likewife four Notes, A, B, C and D, and 
are flopped the fame as the third String. The Treble, or firft String, has ufually 
five Notes appropriated thereto, which are E, F, G, A and B. — E is ftruck open ; 
F is flopped with the fore Finger near the Nut ; G with the fecond Finger about an 
Inch and half from the firft ; A with the third Finger about the fame diftance from 
the fecond, and B with the little Finger the fame diftance from the third. It will 
be heft to ftrike the firft Note with a down Bow, the fecond with an up Bow, the 
third with a down Bow, &c. &$> Hold your Bow faft between the Thumb and 
fore Finger of your Right Hand, about two Inches from the Nut, fpreading the other 
Fingers out towards the bottom, fo as to ballance and command the top ; and draw 
the Bow, acrofs the Strings, exactly parallel to the Bridge. 

Of FLATS and SHARPS, &c m 

Before we proceed any further it will be neceflary to take Notice of the Flats and 
Sharps, which Characters, marked as in the Margin, are very efiential to Mufic, and 
muft be particularly regarded. If a Flat be placed before any Note it denotes that 
fuch Note (and all the following, in the fame Bar, except mark'd to the contrary) 

muftbe fun S or P 1 ^, ha Jf a Note lower than Fhtit sharps. Naturals. 
its Natural Pitch. The Sharp is of a contrary 
Nature ; for whereas the Flat takes away a 
Semitone, or half a Note, from the Sound of 
the Note before which it is fet, the Sharp adds 
a Semitone to whatever Note it is fet before : For Example, if a Flat (or Flats) be 
fixt at the beginning of any of the five Lines, it not only afreets every Note on fuch 
Line or Space, but alfo all the Notes of that Denomination thro' the whole Move- 
ment ; fo if a Flat be fixed on the middle Line, which is J5, all the B's (or Octaves) 
both above and below that Line muft be play'd flat, except mark'd to the contrary 

' B by 




10 



Inftru&ions for the 



by a Natural. ^ The fame is likewife to be obferved of the Sharps ; fo if a Sharp be 
fixed on the higheft Line, at the Beginning, which is F, all the F's are to be play'd 
fharp thro' the whole Piece, except a Natural be plac'd before them to denote the 
contrary. A Natural (which fee in the Margin before) ferves to reduce any Note, 
made flat or fharp by the governing Flats or Sharps pi iced at the Beginning, to it's 
primitive Sound, as it ftands in the"Gamut : For Inftance, a Flat being placed on 
the Middle Line makes all the £'s flat, as aforefaid ; but if the Compofer mould 
have a Mind to have fome one, or more, of them fharp, then the Natural is fet 
before fuch Notes, inftead of a Sharp. 

It will be proper here to fubjoin the whole Scale of the Gamut, afcending, where- 
in all the Half Notes are delineated ; and at the fame Time fhew with what Fingers 
they are to be flopped. Note, O fignifies open, I the firft, 2 the fecond, 3 the 
third, and 4 the fourth Finger ; but where you find a Figure placed under a Note, 
and the fame Figure under the next Note, it denotes that the fame Finger muft be 
flopped, about half an Inch further than it was before. 



r-fe- 



Bafs, or Fourth String. 



Third String. 



i m 
o 



£ 



^^^^^m^^m, 



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ipH 



Second String. 



O 

• — 



Treble, or Firft String, 



^i^a^E^^^Efe^^^^l 



O 



1 2 



233 



O I 12 



3 3 4 



If you cannot readily attain to flop in Tune, you may have recourfe to the fol- 
lowing Example, wherein the Strings of the Violin are reprefented, and divided in-» 
to Frets, agreeable to the foregoing Scale of the Gamut. 





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The length of the Strings, between the Nut and the Bridge, muft be about 
twelve Inches and a half ; which is eafily done by moving the Bridge as you fee 
Occafion : This done, mark the crofs Lines with a Pen and Ink on the Fingerboard 
of your Violin, at the fame diftances as in the above Example ; then you have e- 
very Note, flat and fharp, as they are to be flopped, and by this Method will be 
ibon able to flop pretty well in Tune. 

Of 



Inftru&ions for the HfOiftU 



li 



Of T I M E. 



Example of Common TIME. 



Example of Triple TIME. 



-\ r~ 



Crotchets 



A Semibreve is equajj ^ in Length, to A Prickt Minim is _ equal to 
Quavers JJ j p [££[ 



Minims 
Crotchets 



III 

Quaver, ' £j» ^ [J 



Semi- 
Quavers 



mnims 



Semi- i* (• P 
Quavers 




There are two Sorts o£Time r Common and Triple. Common Time is known by 
fome of the following Marks or Characters. The firft of thefe Marks de- 
notes the floweft kind of Movement, and contains a Semibreve (or as many other 
Notes as are equal to it's length) in a Bar, and muft be held as long as you can di- 
stinctly tell i, 2, 3, 4. The fecond denotes a 
Movement fomewhat fafter than the former, and 
contains alfo a Semibreve in a Bar. The third 



Marks of Common Time. 




denotes a brifk Movement, and contains but one 
Minim, or two Crotchets, &c. in a Bar. — This is 
called Retorthe Time. The fourth Mark contains twelve Quavers (or -Notes to then- 
Value) in a Bar ; the fifth fix Quavers in a Bar, and the laft fix Crotchets in a: 
Bar. Thefe three laft Characters are fixed to Jiggs, &c. 



the firft of which has three 
Marks of Triple Time.. 



Triple Time is known by the following Characters 
Minims in a Bar, and is the floweft Triple Time in ufe. 
The fecond contains three Crotchets in a Bar, and is 
fixed to Minuets, and play'd' quicker than the former. _;.■■ 
The third contains three Quavers in a Bar, and is the jB^^^^&ifc; 
quickeft. The fourth contains nine Crotchets in a "*• 

Bar ; the laft nine Quavers. Thefe laft are rarely made ufe of, and then to Jiggs. 

$$> A Point or Dot added to any Note, whether Minim, Crotchet, &c. makes 
it half as long again ; and muft always Be put on the right Side of the Note, as i& 
the following Example. 

q » Of Example of Rests 

1 Q 1 Semibfeve. Minim. Crotchet. Quaver. Semi-qr. 



r 
v 



is as long as 



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2 Bars. ^ Bars 8 Bars. 16 Bars.- 24 Bars. 



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Note. A Semibreve Reft is a whole Bar, in any Time whatever. 



Of 



i% Iniiruftions for the MiQliU* 

Of Bars, Cliffs, Repeats, &e. 

Single Bar. Double Bar. Repeats. Direcls. Paufe. Da Capo. 
*= »-B -' = ^r—^^ r^r- 



^V\7^- Vt ^ 



g rrfg 



A single Bar ferves to divide the Time according to it's different Meafures, whe- 
ther Common or Triple. A Double Bar ferves to divide every Strain or Part of a Song 
or LefTon. A Direft is put at the end of a Stave, and ferves to direct to the Place 
of the firft Note in the next Stave. A Paufe fignifies that the Note over which it is 
placed muft be held out fomewhat longer than the ufual Time. — The fame Mark 
alfo denotes the End of a Tune. A Repeat fignifies that fuch a Part of a Song or 
LefTon muft be perform'd over again from the Note over (or before) which it is put. 
Da Capo fignifies the Tune does not end there, but muft be begun again, and play'd 
till you come to the Mark T mention'd above to denote the End of the Tune. The 
Cliffs, (which fee in the Margin) at the beginning of Mufic, are to diftinguifh one 
Part from another, as the Treble from the Bafs-, and the Bafs from the Tenor. The 
Treble Cliff is generally fixt on the loweft Line but one, which is called G ; tho J 
fometimes you will find it placed on the loweft Line, in which Cafe the Mufic is to 
fce play'd a Third higher ; and is moftly done to fave 
Ledger Lines. %§> Ledger Lines are all thofe above treble Cliff. Tenor. Bafs Cliff. 



er below the common Stave or Jive Lines. The Tenor II ]] r\ 

Cliff is changeable, being fometimes fixed on one iozp- ;T~r — |b~V^-~j :|:: 

Line, fometimes on another ; but on which Line fo- rfJ~y^nT- r;.3J: ild b 



but on which Line fo- Tl~vj ; 
ever it is fixt it is called C. — The Tenor is generally 
fixt on the Middle Line, and is play'd a Note lower than the Bafs. The Bafs Cliff 
is fixed on the fourth Line from the bottom, which is called F, and is play'd fix 
Notes lower than the Treble. 

Example of the Principal Graces on the Yiolin. 

Beat. Open Shake. Apogiatura. Swell. Staccatos^ Slur. 



A Beat proceeds from the Note below that Note on which it is made, and muft 
he heard before the Note is ftruck with the Bow ; as for Example, in playing B 
you muft firft touch A open, and then beat down B with your fore Finger. An 
Open Shah comes from the next Note above ; thus when you fhake B, the Grace 
is taken from C, which you muft touch a little and then fhake it off ; but be fure to 
let the proper Note B be heard at laft. — Begin the Shake flow at firft, and encreafe 
it by Degrees. Apogiatura, or diminutive Notes, are expreft to fweeten or grace 
a Note, and muft not be reckon'd in the Time. A Swell is done principally with 
the Boy.'. Staccato, marked with fhort perpendicular Strokes over the Notes, is an 
articulate or diftincl: Manner of Bowing ; and when Dots are put over two or more 
Notes, with a curve Line drawn over them, it fignifies that thofe Notes are all to 
be Jlaccato'd with one Bow. A Slur, marked with a curve Line drawn over two or 
more Notes, is done with one Bow, inftead of taking the Bow off and making fe- 
parate Notes. The Clofe Shake cannot be defcribed by Notes, as in the above Ex- 
ample. To perform it you muft prefs the Finger ftrongly upon the String, and move 
the Wrift in and out flowly and equally : It may be made on any Note that is long 
enough to allow it. ^ There are feveral other Graces on the Violin, (See Mr. 
Geminlani\ Art of Playing on the Violin, publifhed in 1 751, Price a Guinea) but as the 
Manner of performing them is difficult to defcribe, what is her§ faid may be found 
MLcient, with proper Practice, to make a tolerable Performer. 

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A N 

EXPLANATIO 

O F T HE 

Foregoing Graces and Or.naments of Expression, 

i. The Plain Shake. 

TH E Plain Shake is proper for quick Movements ; and it may be made upon 
any Note, obferving after it to pafs immediately to the enfuing Note. 

2. The Turned Shake. 

The Tia-ned Shake being made quick and long is fit to exprefs Gaiety ; but if 
you make it fhort, and continue the length of the Note plain and foft, it may then 
exprefs fome of the more tender Paffions. 

3. The Superior Apogiatura. 

The Superior Apogiatura is fuppofed to exprefs Love, Affection, Pleafure, &tr. 
It mould be made pretty long, giving it more than half the length or time of the 
Note it belongs to, obferving" to fwell the Sound by degrees, and towards the End 
to force the Bow a little : If it be made fhort, it will lofe much of the aforefaid 
Qualities j but will ajways have a pleafing Effect, and it may be added to any 
Note you will. 

4. The Inferior Apogiatura* 

The Inferior Apogiatura has the fame Qualities with the preceding, except that 
it is much more confined, as it can only be made when the Melody rifes the In- 
terval of a Second or Third, obferving to make a Beat on the following Note. 

5. The Holding Note. 

It is neceffary to ufe this often ; for were we to make Beats and Shakes con- 
tinually, without fometimes fuffering the pure Note to be heard, the Melody would 
be too much diversified. 

6. The Staccato. 

This exprefTes Reft, taking Breath, or changing a Word ; and for this Reafbn 
Singers mould be careful to take Breath in a Place where it may not interrupt 
the Senfe. Staccato is a diftinct, articulate Manner of Bowing. 

7. and 8. Swelling and Softening the Sound. 

These two Elements may be ufed after each other ; they produce great Beauty 
and Variety in the Melody, and, employ'd alternately, they are proper for any 
Expreffion or Meafure. 

9 and 10. Piano and Forte. 

They are both extremely necefTary to exprefs the Intention of the Melody ; 
and as all good Mufic mould be compofed in Imitation of a Difcourfe, thefe two 
Ornaments are defigned to produce the fame Effe&s that an Orator does by raifing 
and falling his Voice. 

II. Anticipation, 



ix. Anticipation. 

Anticipation was invented with a view to vary the Melody, without altering 
it's Intention. When it is made with a Beat or Shake, and fwelling the Sound, 
it will have a greater Effect, efpecially if you obferve to make ufe of it when the 
Melody rifes or defcends the Interval of a Second. 

12. The Separation. 

The Separation is only defigned to give a Variety to the Melody, and takes 
place moft properly when the Note rifes a Second or Third ; as alfo when it 
defcends a Second, and then it will not be amifs to add a Beat, and to fwell 
the Note, and then make the Apogiatura to the following Note, By this Ten- 
dernefs is exprefs'd. 

13. The Beat. 

This is proper to exprefs feveral Paffions ; as for Example, if it be perform'd 
with Strength, and continued long, it expreffes Fury, Anger, Refolution, &c. If 
it be play'd lefs ftrong and fhorter, it expreffes Mirth, Satisfaction, &c. But if 
you play it quite foft, and fwell the Note, it may then denote Horror, Fear, 
Grief, Lamentation, &c. By making it fhort and fwelling the Note gently, it 
may exprefs Affection and Pleafure. 

14. The Clofe Shake. 

This cannot poffibly be defcribed by Notes as in former Examples. To per- 
form it, you mud prefs the Finger ftrongly upon the String of the Inftrument, 
and move the Wrift in and out flowly and equally, when it is long continued 
fwelling the Sound by Degrees drawing the Bow nearer to the Bridge, and end- 
ing it very ftrong it may exprefs Majefty, Dignity, bV. But making it fhorter, 
lower and fofter, it may denote Affliction, Fear, &c. and when it is made on 
ihort Notes, it only contributes to make their Sound more agreeable, and for 
this Reafon it mould be made ufe of as often as poffible. 

Men of purblind Underftandings, and half Ideas may perhaps afk, is it poffi- 
ble to give Meaning and Expreffion to Wood and Wire ; or to beftow upon 
them the Power of raifing and foothing the Paffions of rational Beings ? But 
whenever I hear fuch a Queftion put, whether for the Sake of Information, or 
to convey Ridicule, I fhall make no Difficulty to anfwer in the Affirmative, and 
without fearching over-deeply into the Caufe, fhall think it fufficient to appeal 
to the Effect. Even in common Speech a Difference of Tone gives the fame 
Word a different Meaning. And with Regard to mufical Performances, Expe- 
rience has fhewn that the Imagination of the Hearer is in general fo much at 
the Difpofal of the Mafter, that by the Help of Variations, Movements, Inter- 
vals and Modulation he may almoft ftamp what Impreffion on the Mind he 
pleafes. 

These extraordinary Emotions are indeed moft eafily excited when accom- 
pany'd with Words ; and I would befides advife, as well the Compofer as the 
Performer, who is ambitious to infpire his Audience, to be firft infpired him- 
felf ; which he cannot fail to be if he chufes a Work of Genius, if he makes 
himfelf thoroughly acquainted with all its Beauties ; and if while his' Imagina- 
tion is warm and glowing he pours the fame exalted Spirit into his own Per- 
formance. 



Inftru&ions for the t&falt'tt* 



13 



Of Bowing. 



Tho' 'tis difficult to lay down any certain Rule for Bowing, by reafon no two 
Perfons bow alike, nor would the fame Mafter bow one Piece of Mufic twice the 
fame Way, yet it may not be improper to obferve, That at the beginning of many 
LefTons you will find an odd Note excluded from the others by the firft Bar, which 
rauft always be ftruck with an up Bow, that the Bar may be begun with a down 
Bow ; but that wretched Way of beginning every Bar with a down Bow, which 
was formerly taught, is now juftly exploded, as it tended only to confine the Bow- 
hand and confequently cramp the Execution. The Bow muft be drawn fmooth and 
evenly from one end to the other, prefling it only with the fore Finger, more or lefs, 
on the Strings j and all long Notes fhould be begun foft, gradually fvvelled to the 
Middle, and from thence gradually foften'd to the end. 

To play the Bass Part on the Violin. 
To know the Bafs Cliff on the Violin is very ufeful, and eafily attained by the 
help of the following Gamut, where in the upper Stave are the Notes in the Bafs 
Cliff, and in the lower thofe Notes as they are play'd on the Violin : Only obferve 
that in the Bafs Part you will often meet with Notes lower than are marked in this 
Scale, which Notes are out of the Compafs of the Violin, and lb muft be play'd the 
Octave above.. 

Gamut for the Bass on the Violin. 



G A B C D E F G A. B CD 



E F G A 



&± 



I 



^rfe^ 



rf^> 



#=££*« 




Bafs or Fourth String., Third String. . Second Siring. Treble, or Firji String. 



Note, When the Tenor Cliff "is found in the Bafs Part it denotes that all the Notes 
following, till the Bafs Cliff is again introduced, muft be play'd a Fifth higher, which* 
is eafdy done by fkipping a String and playing them on the next higher. 



■*►- 



Inftrucrions for the <Bl$MtL% Ji 

Of the Posture of the Body, and Placing the Hands-, 

THE Body, fitting or ftanding, fhould be erecl, the Head rather raifed than* 
inclined j and fomewhat turn'd to the left Shoulder ; the Hands high, without 
raifing the Elbows or Shoulders ; the left Wrift bent inwards, and the left 
Arm clofe to°the Body. When ftanding ftand firm, advancing the left Foot a little, 
and bearing the weight of the Body on the right Leg, without Conftraint, and avoid 
all Motion of the Head or Body in beating Time. The Flute muft be held between 
the Thumb and fore Finger of the left Hand, which muft be uppermoft ; the firft 
and fecond Fingers fomething more arched than the third ; all the Fingers of the 
right Hand almoft ftrait, the Thumb overagainft the fourth Hole or a little lower ; 
the little Finger between the fixth Hole and^the bottom Piece, and the Wrift b«nt 
a little inward* Keep the Flute almoft ftrait, a little inclining to the lower Part. 

Of 



14 Inftrudtions for the 

Of Filling the Flute 

Tho' fome think this cannot be taught by Rules, yet the Defcription of a good 
Matter, and Method, may facilitate the doing of it. Obferve therefore the Lips are 
to be clofe, except juft in the Middle, to give paflage to the Wind, and muft be 
contracted gently, even and fmooth rather than pouting out. Place the Mouth- 
hole (the Flute refting on the under Lip) juft oppofite this Opening of the Lips, and 
blow moderately, (all the Holes open) turning the Flute outward or inward till you 
find the true Point. Ef? Sitting before a Looking-Glafs will be of fome ufe. When 
the right Tone is found, place on the Fingers of the Left-Hand fingly, blowing three 
or four Times to each Note to be fure of the true Tone ; after that do the fame with 
the right Hand. The firft Note (i. e. all the Holes flopped) being difficult, 'twere 
beft not to try at it till Practice has made the Flute eafy to the Hand. When filling 
the Jnftrument is quite attained, confult the following Explanation of the Scale or 
Gamut. 

An Explanation of the firft Scale of Natural Tones. 

In the upper Part of this Scale are the Notes placed on five parallel Lines, and di~ 
llinguiihed by the Letters, D, E, F, &c . The G-folreut Cliff, which is placed at the 
Beginning of thefe five Lines and gives its Name to the Second, (on which 'tis placed) 
is moft in ufe for Flute-Mufic : By this the Place of every other Note is found, accord- 
ing to it's Order on the Scale. The black Dots on the feven Lines below, reprefent- 
ing the feven Holes on the Flute, fhew the Holes on the Flute anfwering thofe Lines 
muft be ftopt, and thofe anfwering the white Ones open, to produce the Tone of the 
Note they ftand under. This Scale contains the whole Compafs of Notes on the Ger- 
man-Flute, whether Natural, Sharp, or Flat, and confifts of two Octaves and fome 
few Notes. The firft Octave runs from the firft Note to the Thirteenth ; from that 
to the Twenty-firft is the Second, which being flopped (except a few Notes) much 
like the firft, the Manner of blowing only makes the Difference : The white Notes, 
or Minims, are Natural ; the black Ones, or Crotchets, are Flats and Sharps. Be- 
ginners mould firft ftudy only the Natural Notes. All the Holes (which ought) being 
perfectly ftopt, blow gently for the lower Notes, growing ftronger as they afcend, and 
ftrike every Note with the Tongue, as if the Syllable tu was pronounced. 

The Scale fhews the firft Note, D, is all the Holes ftopp'd ; the next, E, unftop 
the fixth Hole, as the white Dot on the fixth Line directs ; fo flop and open according 
to the black and white Dots for every other Note ; only obferve for F always to turn 
the Flute inwards (by inclining the Head a little) reftoring it to it's former Pofition for 
G. If D is blown too ftrong it will be an Octave too high, yet it muft be a little 
ftronger than C, the Note before, as muft each afcending Note be blown fomething 
ftronger than the next before it : The Lips muft be brought clofer and the Tongue 
nearer for the high Notes : The Fingers muft not be raifed too high, and muft fall 
plumb on the Holes. N. B. The feventh Hole is opened by prefling the Top of the 
Brafs-Key with the little Finger. The fecond C being higher on fome Flutes than 
others, lower it by turning the Flute outwards, or found it as Note the Thirty-fifth 
in the Scale ; but if it be too Flat, then raife it by flopping the third, fifth and fixth 
Holes, inftead of the fecond, fourth, and fifth. All above the third E are fore'd 
Tones, and feldom ufed unlefs in Preludes. F in alt is made by flopping the firft, 
fecond, fourth, and half the fifth, and opening the third, fixth and feventh Holes, 
blowing very fharp. — For the fame Note fliarp flop all but the fecond Hole. G is 
made by opening the firft and third Holes. Thefe are not to be depended on, there- 
fore are not in the Scale j befides, the fecond G is high enough, -till you are very 
perfect to that, 

Of 



Inftruftions for the d5etmau 'M®U* if 

Of the Flats and Sharps, &c. 

A Flat placed before any Note makes it half a Tone lower, and a Sharp adds 
a Semitone, or half a Note, to whatever Note it is fixt before. The Natural is 
put to reduce Notes, made flat or {harp by the governing Flats or Sharps fixt at the 
beginning, to their proper Pitch, as they ftand in the Gamut. See p. 9. Whert 
the Natural Notes are thoroughly conquer'd you may proceed to learn to open and 
flop the Flute for the two former (as they occur in Leflbns or Tunes) according to 
the Scale for that Purpofe ; but as founding thefe well depends chiefly on the Manage- 
ment of the Flute, obferve for E, G, and A {harp the Flute muft be turn'd inwards 5 
but for F, C, and E in Altiflimo, outwards, as fome Flutes muft for D natural and 
fharp where thofe Notes are too low in the common Pofition. A diligent Perufal of 
the Scale will mew the Flats anfwer the Sharps in the fame Octave very near ; only 
obferving a Flat to one Note is a Sharp to the next below it ; thus for Example E Flat 
below is flopped the fame Way as D Sharp, confequently the fame Tone of the Flute 
is Flat to E, and Sharp to D the next Note below . So D Flat may be play'd like C 
Sharp, but 'tis better as the Scale directs. — B Flat like A Sharp, turning the Flute out- 
wards. {^ The feventh Hole muft be open'd on fome Flutes for this Note. A flat 
like G (harp, and G flat like F {harp, (but the Scale {hews a better Way, by turn- 
ing the Flute much m) and fo thro' the other Octaves. C {harp, the loweft Note 
on the Flute, is not in the Scale, being flopped the fame Way as D natural and 
lower'd the half Tone by turning the Flute— 'Tis (hook upon D. The adjufting 
thefe Notes fo exactly, by turning the Flute in and out, needs not be attempted till 
the Practitioner is perfect in flopping every Note, and then 'twill be neceflary, the 
Inftrument not being perfectly learn'd without it } but it will require fome Practice. 
$3* There is no Sharp between B and C, or E and F, they being but Half Note3 
themfelves j fo C natural muft be play'd for B {harp, and F natural for E fharp. 

Of Cadences, Shakes, Softenings, 6iV. 

A Shake is the agitating or mixing two Sounds, the fpace of a Note, or half a, 
Note afunder, by an equal continued Motion of the Finger, according to the length 
of the Note {hook, much quicker than the ticking of a Watch, beginning with^the 
upper and ending with the lower Note, the Finger on, tonguing only the firft : 1 hus 
D, the firft Shake in the Scale, is begun by opening the fixth Hole to blow E, from 
whence the Shake is taken, and then {haking the Finger quick and evenly on the 
fixth Hole, only tonguing E, and concluded with the Finger on the fixth Hole : All 
other Shakes are performed the fame Way, except C natural, (Note 11) which, as 
the Scale {hews, is taken from the D above it, and fhook with the fourth Finger, 
ending with it off. — This in Alt, Note 23, is very difficult, little ufed, and therefore 
foften'd, not {hook, when met with ; but the Scale {hews one Way to perform it, 
by fhaking the fourth and fifth and covering half the fixth Hole at the fame time : 
Another is flopping for D as before, and making on the third and fixth Holes at 
once, ending with them off, as the black Dot before the white one in the Scale fnews. 
The little Arch over or under any Notes, or the Dots in the Scale, is call'd a Slur, 
and fignifies that the firft of thefe Notes only muft be tongued, and the reft follow 
in the fame breath. In the Scale there is a little Curl to the Dot or Hole which 
muft be fhook on ; but in Tunes a Shake is marked /, or tr, over the Note to be 
{hook. The tipping the firft Note with the Tongue is call'd a Port-de-voix or Sigh ; 
js never marked, but muft never be omitted. Borrowed Shahs are fuch as begin 
and end on different Holes ; as D beginning (as the Scale {hews) from E flat, by 
xaifing the Key, and ending from E natural, by making the fixth Finger, the Key 
down : So E natural, taken from F fharp, is begun by opening the fifth, fixth and 
feventh Holes, and ended by flopping the fifth and feventh and making on the fourth. 
Obferve that the' E flat and D fharp are flopped alike they are Shaken differently, 

the 



1 6 Inftru&ions for the <$ttm& it Jfitttk 

the firft being taken from F natural a whole Note, and the fecond from E natural 
half a Note diftant. There is the fame difference in all other Notes of the fame 
kind : Thus F (harp, taken from G fharp, is begun with the Flute turned inwards, 
and ended with turning it outwards : Others begin and end quite contrarily, all 
Shakes being adjufted by the Notes they begin and end with. ^ Shakes are feldom 
pra£tifed on any Note above B in Alt, 23. A Cadence is a Shake at the End of a 
Tune, not confined to Time. A Double Cadence is a Shake followed by two Semi- 
quavers flurr'd or tipp'd. The Accent is a Sound borrow'd from the end of a Note 
to 2ive a greater Expreffion ; as in the following Example. 

Accents. Doable Cadences. 




Tu, tu, tu y tu, tu, tutu tutu 



A Beat is made the fame as a Shake, only begun from the lower Note a/id 
ended with the upper, the Finger off except on D. The Softening, or lefler Shake, 
is begun and ended the fame as the Beat, only it is made on a Hole diftant from the 
Note, or on the edge of the fame ; thus G natural may be foften'd either on the 
edge of the fourth Hole, (which Hole open produces G) or full on the fifth, a Hole 
further from it. 

Of Performing the Beats and Softenings. 

D natural, the firft Note, is foftened by fhaking the Flute, and has n« 
Beat, the Fingers being all employ'd to form the Note. D fharp and E flat are 
foftened the fame Way, and beat on the Key, ending with it on. E natural is 
foftened on the Edge of the fixth Hole, and beat full on the fame. F fharp and natu- 
ral are the fame on the fifth ; G natural on the fourth, or foftened full on the fifth. 
G fharp and A flat are foftened on the Edge of the third Hole, and beat full on 
the third Hole. A natural may be foftened full on the fourth. A fharp, or B flat, 
foftened and beat full on the fixth, unlefs preceded by a Port-de-voix, for then it 
muft be beat on the fecond. B natural is foftened full on the third, and beat full on 
the fecond. C natural is foftened full on the fourth, beat on that and the fifth at 
the fame time ; but if preceded by a Port-de-voix on the firft. C fharp, or D flat, 
is foftened on the fecond Hole, and beat on the firft. D natural is foftened on the 
fecond full, and, when play'd in a natural Key, beat on the 'fourth; but when you 
play in a Key where C is fharp, on the fecond and third at once, both Softening 
and Beat beginning and ending with the Finger on. The fame for D fharp, or E 
flat, which are foftened on the firft Hole : But D fharp beat on the fecond and 
third, the firft open ; and E flat on the Key, as was fhewn above. B flat (all between 
the laft Note and this agreeing with their Octaves) is foften'd on the edge of, and beat 
full on the fourth, unlefs following a Port-de-voix, then it is beat on the fecond. C 
natural may be foftened and beat either on the third or fixth, and if after a Port- 
-de-voix on the firft. D natural and D fharp, or E flat, are foftened and beat like 
their Octaves ; but E flat may be beat on the fifth and fixth Holes at once, keeping 
the fourth and feventh open 'till the Beat is finifh'd. E natural is foftened on the 
Edge of the third Hole, and beat full on the fame. Notes higher than thefe are 
very uncertain, and therefore omitted ; nor can all thefe be depended on, neither 
ought they to be too haftily attempted. 'Tis fcarce poflible to lay down any Rule 
to fhew on what Notes thefe Graces may, or may not, be made ; but, in general, 
long Notes, as Semrbrieves, Minims and pointed Crotchets are foftened ; and 
Crotchets and , Quavers, in light Movements and where they pafs equally, are beat: 
But the beft Method of teaching the Ear (which in this Cafe is the beft Judge), 
what Notes thefe Graces moft agree with, is to play only, for fome time, fuch 

Pieces 



Inftruftions for the (SttVXAtt JFltttC* *? 

Pieces of Mufic as they are marked in, which is never done but in thofe Pieces 
which Matters fet for their Scholars, as in the following Example. .'- 



A Softening. Beat. Shake. Example. 



-Q 




— ^pij— Z=l/-|Zrrj--|— 1 — |— j— [—*-■■«■<-;_ 



~6J 



How to make fome Half Notes, and Shakes, different from the 

Manner in the Scale. 

The Scale fhews the fimpleft Manner of making on D fharp in Alt ; [Note 19] 
but it being rather too fharp that Way it may be flatten'd by flopping the fixth and 
opening the feventh Hole, making the fecond Finger and turning the Flute inward ; 
or by (topping the firft, fecond and fourth Holes, and opening half the fifth, and mak- 
ing on the fecond, turning the Flute inwards ; but, in many Cafes, the Method in 
. the Scale is befl. C fharp in Alt [Note 23] may be fhook on the fourth and fixth 
! Holes at once, flopping only the fecond and third, and ending with the Fingers on ; 
or flopping all but the firft and fifth Holes and making on the fixth or feventh, end- 
ing with the Hole open. For C fharp ©r D flat, without a Shake, leave all but the 
third and fourth Holes open. B natural above [Note 22] may be fhook on the firft, 
flopping the fourth, fifth and fixth Holes, and turning the Flute inwards that it may 
not be too fharp. B flat in Alt [Note 37] may be fhook on the firft, flopping on- 
ly half the fecond Hole. — Some fhake only the firft and third, leaving all the reft o- 
pen, but 'tis not right. For the Shake on A fharp [Note 21 J fome open only the- 
third and feventh Holes, and, turning the Flute in* fhake on the fecond. D natu- 
ral in Alt, [Note 25] taken, from E flat, may be fhook on the fifth and fixth Holes 
at once, flopping only the three firft — the Wind muft be forced, ending with the 
Fingers off. — On fome Flutes the firft Hole muft be open'd for this Note. There 
are fome who make C natural [Note 11] by flopping the fecond, fourth and fifth. 
Holes- ; but it is not far enough from it's Sharp, and is found falfe when fo made. 

Of Time, Bars, &c. 

There are two forts of Time, Common and Triple. Common Time contains a 
Semibreve, two Minims, four Crotchets, &c. in a Bar. Triple Time contains three 
Minims, three Crotchets, &c. in a Bar. See a full Explanation, p. 11. 

Of ToNGUING, PORT-DE-VOIX, SLIDING, &C. 

There are. two Articulations ufed in playing on this Inftrument, tu and ru ; the 
firft is_ always begun with, and ufed to, Semibreves, Minims, Crotchets and Qua- 
vers, in Common Time, on the fame Line, or when they leap from one Line to 
another ; but when they are joined and afcend or defcend by degrees, then tu and ru 
are. ufed alternately, as they are alfo to Crotchets when the number in each Bar is 
odd ; but when they are even tu is pronounced to the two firft, and then alternate, 
Note, t is fet for tu, and r for ru, in the following Examples.. 



a 



Example, in Common Time.. 



t r t r t r t rtrtrtrt U. t t r t r t t r t r t t t t. 
The making one Quaver long and the other fhort in fome Movements, which 
are chiefly in Common Time,, (call'd Pointing) is govern'd by the fame Rule ; for 
when they are even the firft muft be long and the fecond fhort, but when odd the 
reverfe. 

C I* 



1 8 Inftruftions for the ffittttim JFittfe* 

In Triple and Jigg Time of § ra is ufed for the Note following a Quaver whicn 
atfcends or defcends but one Note. The following is an Example. 

m 



t t r t t r t t r t. trttrttrt. 



In Movements where Quavers are held like Crotchets, and Semiquavers like Qua- 
vers, the firft muft be play'cl equally, [tu pronounced to them all) and the latter 
pointed ; and to them ru is ufed, as directed before for the Quavers, whether they 
itand on one Line or (kip. The fame Rule ftands for 4 x ~ and |.. 



^^^-^=^ ^gg|]^^&=i^=i-^^g f!j 



t ttttttttr 



t t t tit t t t t t 



^ '^^^^^^^^ ^^^|^^^^ ^ ^ ^^§^^^^^^^^^^j3 



t t t t t t t t ttttttrt t. 



t t t t t t t t 



These Rules admit of a few Exceptions, in fome Cafes, as in the following Ex- 
amples. 



^^^^^^^a^^^ B^^i 



/ t r t t t r t t t r t 



ttrtrtrtrtr t. 



When two Quavers are mixed with Crotchets, or two Semiquavers with Qua- 
vers, tu ru are pronounced to the two firft of each ; but as this is chiefly done for a 
greater Sweetening the Ear muft be confulted, and that Way ufed which is moft a- 
greeable, without any regard to thefe Rules, the ranging of Notes, or difference of 
Movements j only ru fliould not be pronounced on a Shake, or two Notes together. 

Examples. 




In double Triple Time, or .f, Minims are held but as Crotchets, and Crotchets 
as Quavers ; therefore Crotchets muft be pointed according to the Rule before you 
for Quavers, and ru is always ufed on Minims following a Crotchet, when they rife 
or fall but one Note ; as in the Example next following. 

-t 




t t r t r t 



t t r t r t 



t. 
Slurring 



Inftruftioxis for the <5ttni$m fltttt* 19 

Slurring is when two or more Notes are paffed over with one Tip, which is 
marked by a curve Line over or under the Heads of Notes. 



f=^03^ ^mim^wm^mm 



t t 



t t t 



The little Notes following, which denote the Port-de-voix and Slide, are a tip- 
ping with the Tongue, anticipated by one Note below that on which 'tis made. — 
The Slide is taken a Note above, and is never praclifed but in defcending to a Third. 
t^ They are never reckon'd into the Time. 



Port-de-voix. 



Slides. 



t t t t t t t t t. t t t t t t t t. 



Obferve, That the Tonguing is foft on the German Flute, more diftinct. on the 
Mute-a-bec or Common Flute, and very ftrong on the Hautboy. 

g^° For Transposition, &tc. See/). 6. 



Inftru<ftions for the l^aut&Op* 



T 



H E Hautboy is a very fine Inftrument, and when well performed is equal, 
if not preferable, in Tone, to the German Flute. 5 Tis Pity it is not practifed 
more, being particularly oblig'd in Overtures, &c. 



A Scale of the Plain Notes on the Hautboy. 



Gamut 




LefiH.\ £« 

Right. I I • 

Having perufed the above Scale, or Gamut, and taken particular Notice ofe« 
very Note, and of the Line or Space on which it ftands, fo that you can readily tell 
it's Name and know how to totach it on your Inftrument in any other Place or Lef- 
ron, you may then have Recourfe to the following General Scale of all the Notes* 
flat and fharp, and by taking Care to place your Fingers as the Dots direct you may 
with Eafe attain to play them. 



io Inftru&ions for the -$ftut&0p* 

A Scale of all the Notes, flat and iharp, on the Hautboy. 




P P PPPPPPPppp p 



-o-ff-o 



B B 



4— ' 



H E 



1? F 



a a 



A A 



B B 



Where you meet with a Crofs placed on the third Line it (hews that you muft 
ftop but one of thofe two Holes that are cover'd with the third Finger of your Left 
Hand, but let that be the Hole which is next your Hand. Obferve that where this 
Mark [p] is put over the Notes in the Scale, which begin at D-folre and fo on all 
the Notes in Alt, you muft prefs the Reed almoft clofe between your Lips, and blow 
flronger than you did before, and the higher you go continue blowing ftronger. 

The Manner of holding the Hautboy, and playing the Notes. 

PLACE*your Left Hand uppermoft, and your Right Hand below ; and let the fore 
Finger of your Left Hand cover the firft Hole, the fecond Finger the fecond Hole, 
and the third Finger the next two Holes : In like Manner the fore Finger of your 
Right Hand muft ftop the next two Holes, then place the fecond Finger of the fame 
Hand on the next Hole, the third Finger on the loweft Hole in View, and the little. 
Finger will command the biggeft Brafs Key, fo that by prefiing it down pretty hard 
it will cover the loweft Hole. Thus all the Holes of your Pipe being ftopt, blow 
fomething ftrong and you will diftinclly hear C-faut, which is the loweft Note on 
the Hautboy. D-folre is the fecond Note, and to found that you muft lift up the 
Little Finger of your Right Hand. For E-lami, the third Note, take up the third 
Finger of your Right Hand. For F-fayt y the fourth Note, take up the fecond Fin- 
ger and put down the third Finger of your Right Hand, together with the little Fin- 
ger of the fame Hand on the fmall Brafs Key. For G-folreut, the fifth Note, take 
up the little Finger, with the fecond and firft Finger of your Right Hand. For A- 
lamire, the fixth Note, you muft keep the firft and fecond Fingers of your Left Hand 
and the third Finger of your Right Hand clofe flopped. For B-fabemi, the feventh 
Note, ftop the fore Finger of your Left Hand and the third Finger of youn Right. 
For C-folfaut, the eighth Note, ftop only the fecond Finger of your Left Hand and 
the third of your Right. "For D-folre, the ninth Note, ftop all, only keep the Little 
Finger off the Brafs Key, and prefs the Reed between your Lips almoft clofe toge- 
ther, and blow ftronger than you did before, whereupon you will hear a found the 
#iftarice of a Note above the former ; but it ought to be obferved that in all the fol- 
lowing Notes which are above this C, the Ree"d muft be kept prefled between your 
Lips, as you did for the preceding Note ; and the higher you go* ftill continue blow- 
ing: 



Inftruftions for the $tttttbO?* 2.1 

ing fomething ftronger. To found E-la in alt, the tenth Note, take up the third 
Finger of your Right Hand. — Forget not to order the Reed according to the former 
Direction. For F-faut in alt, the eleventh Note, take up the fecond Finger of your 
Right Hand and fet down the third Finger of the fame Hand, placing the little Fin- 
ger on the fmall Brafs Key. For G-folreut in alt, the twelfth Note, take up all the 
Fingers of your Right Hand, and flop all thofe of your Left. A-lamire in fit, ' the 
thirteenth Note, is founded by flopping only the firft and fecond Fingers of your Left 
Hand. B-fabemi in alt, the fourteenth Note, is founded by flopping the fecond Fin- 
ger of your Left Hand. C-faitt in alt, the fifteenth or higheft Note, is founded by 
keeping all the Fingers open. 

Under the firft Scale of Notes, before delineated, I have defcribed feven Lines, 
fignifying the feven Fingers, and the Dots marked on them are to fnew which Fin- 
gers muft be ftopt and which not ; but on the loweft Line you will fometimes find a 
Crofs, which denotes that your little Finger muft be fet on the leffer Brafs Key, 
which lifts that off" from the Hole. Again, when a Dot is placed on the lower Line 
you muft put your little Finger on the large Key, until it beats that down to cover 
the Hole. Obferve likewife, when this Mark [/>] is put over any Note the Reed is 
to be prefled clofe together and blown ftronger, as before directed. 

Of Flats, and Sharps, &c. 

A Flat placed before any Note makes it half a Tone lower, and a Sharp adds 
a Semitone, or half a Note, to whatever Note Flats. Sharps. Naturals. 
it is fixt before. The Natural ferves to reduce 



It is ljxi ueiuic. 1 11c ivuiurm icivcs iu icuulc _ _u 

Notes made flat or fharp by the governing Flats qr lj r; ; " I * f~j p ^ " I h ' q ' a ~P 

or Sharps to their proper Pitch, as they ftand ziqziffij — j I J^T^JgzjzzifcjZZzhlz: 

in the Gamut — They are marked as in the Mar- ^^ "~^ ^ 



in the Gamut — They are marked as in the Mar- 
gin. For a further Explanation fee Inftru&ions for the Violin, p. 9. 

Of Time, &c. 

There are two Sorts of Time, Common and Triple. Common Time contains one 
Semibreve, two Minims, four Crotchets, &c. in a Bar. Triple Time contains three 
Minims, three Crotchets, £5V. in a Bar. See p. 11. 

Example of all the Graces on the Hautboy. 

A Beat proceeds from the Note below that on which it is made, which muft be 
juft touch'd before the other is play'd ; as for BeaU Shakes* Slurs 

Example, in playing D you muft juft touch 

C, by beating down the large Brafs Key with ■ , J. -, — t r: — — ""~ / ~ >v _ < 

your Little Finger. A Shah, marked either ; : pH ^ ::::= EESEStlzLr 
of the Wavs as in the Examole. comes from - * - ' ■ " — ' — U j . ' ■ ■ » ** 



of the Ways as in the Example, comes from 
the next Note above ; thus when you fhake C the Grace is taken from D, which 
y'pn muft firft touch and then fhake it off, but be fure to let the proper Note C be 
heard at laft. A Slur is a curve Line, drawn over or under the Heads of two or 
more Notes, and fignifies that all thofe Notes are to be founded in one Breath. 

For the greater Satisfaction and Encouragement of the Practitioner I have mb* 
join'd the following Scale, wherein all the Notes and Half Notes and the Beats and 
Shakes on each are delineated, and the proper Fingering defcribed. {& Obferve that 
on whatever Line this Mark of a Beat [+] is placed it denotes that the Finger anfwer- 
ing thereto fliuft be juft beat down and lifted up again. The reft will be eafily un- 
derftood. 

A SCALE 



ix Inftru&ions for the $atttbfl?« 

A SCALE of the Beats, Shakes, £jV. on the Hautboy. 




t —a 



^qzjz^q^^iJ^-q-J-O- =0=j=|^0:p|m 






t 


a 


^ 


1 


««» 


^ 


*l» 


Or 


CU 


-§ 
^ 


CVS 


1-1 



JEsl^H^l^N=PPggS 




4q^q h^lr^ ty^ b^- b-Q -.b-Q.-lp.bg- A 




Inftru&ions 



tnl 



Inftruftions for the JFitttC* 

TH E firft Thing neceflary to be Iearn'd in order to play the Flute a Bec 
or Common Flute, is, as well in this as all other Inftruments, the Scale 
of the Gamut, as follows. 



Gamut for the Common Flute. 



SCALE 

of the 
PlainNOTES. 




•<< ^ ^ 0) CjQciqk, e>^! ^ Cj Q ^ ^ Ci 

-J* B9 B Be — r» — . «■ «___» * B« ■ , ■ ».. 



— ■» »» 



L +■ 



fcS* Those Notes which have this Mark [+] under, are pinch'd Notes. 

The eight Lines reprefent the eight Holes on the Flute. The firft or.,uppermoft 
Line is for the under Hole, where the Thumb of the Left Hand is placed ; the fe- 
cond Line for the firft Finger ; the third Line for the fecond Finger, and the fourth 
Line for the third Finger. The Fingers of the Left Hand being thus fixed, proceed 
to ftop the reft of the Holes with the Right Hand, viz. The fifth Line for the firft 
Finger ; the fixth Line for the fecond Finger ; the feventh Line for the third Finger, 
and the eighth Line for the Little Finger. All the Holes being thus clofe flopped, 
blow gently, and you'll found the loweft Note, which is F-faut ; then obferve to 
take off the Fingers gradually as you afcend ; and obferve that where no Dots are 
the Holes muft be open. Obferve alfo that the pinch'd Notes, mark'd [+], muft be 
perform'd by flopping but half the Hole, and pinching it with the end of your Thumb, 
by which means thofe Notes found an Octave, or eight Notes, higher than they 
would if the Hole was quite ftopt. 

Of Flats and Sharps, Time, &c. 

A Flat being placed before any Note denotes it to be play'd half a Note lower 
than it's natural Pitch. The Sharp is of a different Nature ; for whereas the Flat 
takes away a Semitone, the Sharp adds a Semitone to whatfoever Note it is fet be- 
fore. There is another Character called a Natural, the quality of which is to reduce 
any Note made flat or {harp by the governing Flats or Sharps to it's primitive Sound 
as it ftands in the Gamut. See a full Explanation, in p. 9. 

There are two forts of Time, Common and Triple, which are diftinguifh'd by the 

Moods or Characters in the Margin. The /y^lL-* <r- „ <t w ;m <n^„ 

rn • n » » i /• & i v i Lommon lime. Iriple lime. 

Suit is a ilow Movement, the lecond a little 

fafter, and the third a brifk Movement. In 

the Triple Time the firft Mood denotes a flow 

Movement, the fecond fomewhat fafter, and 



^m 



p* 




die third a brifk Movement, For a further Explanation of which fee p* 11. 



A 



14 



Examp. 



Inftructions for the Jflttfe* 

A SCALE of the Notes both Flat and Sharp. 



^ pj -h nj^^ ^ 



j ' r i — + + + -t- 

GABC DEFGABCDE 



1 



-«, ■ 



An Explanation of the Graces, mewing how to perform them. 

The Marks and Rules for Gracing are, a Clofe Shake, marked thus [t, or tr] 5 
an Open Shake, Beat or Sweetening thus [+] j the Double Shake, which is only on G 
in alt, thus [/>], and a Slur thus [""*; or ^J. A <S/#r denotes that the Notes un- 
der or over it muft be play'd in one Breath, ftriking the firft of them only with your 
Tongue. A Clofe Shake muft be play'd from the Note or Half Note immediately 
above ; for Example, if you would fhake on F in alt firft found G in alt, then 
fhake your Thumb, in the fame Breath, on it's proper Hole, concluding with it on. 
An Open Shake or Sweetening is made by making your Finger over half the Hole 
immediately below the Note to be fweeten'd, ending with it off ; as thus to fweeten 
D you muft found D, making the third ' Finger of your Left Hand over the half 
Hole next below, keeping your Finger up : In fhort, after a Clofe Shake keep your 
Finder down, and after an Open Shake keep it up. F and G in alt are both to be 
fweeten'd with the fore Finger of your Left Hand. — B flat, both in alt and below 9 
with the middle Finger of your Right Hand. — B natural with the fore Finger of your 
Right Hand. — E flat with the middle Finger of your Left Hand ; and all the other 
as marked in the Scale above. The Double Shake is to be performed thus : Place 
the fore and middle Fingers of your Right Hand, and the middle and third Fingers 
of your Left Hand on their proper Holes, blow pretty ftrong, and 'twill found A in 
alt; then fhake the third Finger of your Left Hand on it's proper Hole, concluding 
with that and all the other Fingers up except the middle Finger of your Left 
Hand and loweft but one of your Right. When E is to be clofe fhook, where F is 
(harp, firft found F fharp, and in the fame Breath take off the middle Finger of the 
Left Hand, making the Thumb on it's proper Hole. There are two other Shakes, 

. F fharp, in a Tune where G is fharp, and G in alt in a Tune where A is flat ; 
the former is perform'd by founding G fharp as directed in the Scale of Flats and 
Sharps above, only taking off the middle Finger of your left Hand, it not altering 
the Tone in the leaft j then fhake the middle Finger of your Right Hand full upon 
it's Hole, concluding with it up, and 'twill give the fame Sound as if your F fharp 
was flopped with the proper Fingers. — The latter is thus ; place your Fingers as di- 
rected in the Double Shake, only adding the third Finger of your Right Hand on 
it's proper Hole ; blow, then fhake the fore and middle Fingers of your Right Hand 

' together, full upon their Holes, ending with them and the third Finger of your Left 
Hand up. All defcending long Notes muft be clofe fhook, and afcending long 
Notes fweeten'd. Slur down to a third defcending Crotchet. If two third defcend- 
ing Crotchets come together, fhake the firft and flur to the next. If two Crotchets 
happen together in one Key, figh the firft and found the fecond Example. 
plain. A Sigh divides a Crotchet into a prickt Quaver and Semi- 
quaver, ilurr^d ; the prickt Quaver to be on it's proper Key, and 
the Semiquaver on the Note or Half Note juft above ; fo you muft 
play two Crotches on F as in the Example annexed. If three 
Crotchets come together, in one Key, beat the firft, figh the fecond and play the 

third 




Example. 



Inftru&ions for the ifitttfc* if 

third plain. If three Crotchets gradually defcend, beat the firft, fliake on the fe- 
cond, and play the third plain : If three gradually afcend, figh the firft, double-re- 
lifh the fecond and play the laft plain, provided the Movement be flow enough to 
allow the dividing your Crotchet. A Double Relrjl) divides a Crot- 
chet into a Quaver and Semiquavers, flurr'd ; the Quaver to be 
fhook on it's proper Key, the firft Semiquaver on the Note or 
Half Note juft below, and the latter Semiquaver on the Key with 
the Quaver. A Crotchet on D is double-relifhed as in the Example. 
Flat Notes are generally play'd from the half Note below, and Sharp Notes from 
the half Note above ; but if the Flats are in a fharp Tune, or the Sharps in a flat 
one, the Rule is without exception. G fharp and A flat are ftopt alike, yet their 
Difference is eafily diftinguifhed in playing ; for when you play G fharp you firft: 
found A in alt, and in the fame Breath flur down to your G fharp ; but when you 
play A flat you muft firft found G in alt, and in the fame Breath flur up to your 
A flat. &> This may be an Example for playing all other Flats and Sharps 

For Transposition, See p. 6, 7. 




Inftru&ions for the Jfttfttlj 



TH E French Horn is a noble Inftrument, and has a fine Effect In a Con- 
cert, as well as in the Field and on the Water. This Inftrument may be 
learn'd, by the following Rules, with a very little Practice to what is requi- 
fite for the Violin and feveral others of greater Extent. 

In the firft Place you muft procure fuch a Mouth-piece as may be moft conve- 
nient for your Lips : If your Lips be thick your Mouth-piece muft be pretty broad 9 
but if thin fomething fmaller. Next, you muft procure fuch a Horn as is moft pro- 
per for a Beginner : There are feveral Sizes, and different Pitches, as G, F, E, D 
and C ; but moft Mafters allow a D Horn to be the beft to begin upon. After hav- 
ing provided a good Horn and Mouth-piece yon are to proceed to the enfuing Ex- 
amples ; by the Help of which, and Application, you may be able to blow the Horrj 
pretty well in a fhort Time, without the Help of a Mafter. 

Of placing the Mouth-piece, blowing the Notes, &c. 

Place the Mouth-piece about the centre of your Lips, and contrail: them fo that 
you may have a Command of your Tongue, and that the Wind may pafs with the 
greater force. Take not too much of the upper, nor too much of the under Lip. 
Blow with a fmooth Breath, with your Lips a little open for the loweft Note, which 
is C : But as the Horn is not fo perfect as moft Inftruments, the Notes do not move 
fo gradually. But to proceed, After having expreft C, found E with a little Pinch 
of the under Lip ; then found G, C, D, E, F, G, A, B and C, or higher if the 
Wind will admit ; but this being the ordinary Compafs of the Horn it may fufEce. 
Obferve as the Notes rife to pinch the Lips, and likewife exprefs each Note with 
the Tip of the Tongue ; and draw in your Cheeks, that you may have a greater 
Command of the Inftrument. Then have Recourfe to the Gamut, as follows. 



GAMUT. 




:^NE 



-j t- ^ 



m 



EGCDEFGABC 
D 



When 



%6 Inftruftions for the gttntl) ^Ottt* 

When you know the foregoing Notes readily, and can found them well, you 
may proceed to the enfuing Examples and Leflbns ; but firft it will be neceflary to 
be acquainted with Time," which is of two Sorts, Common and Triple j of which fee 
a full Explanation in Pape 31. 

K3? Where you meet with Notes that are flurr'd, [thus ^ or thus "j they muft 
be expreft after a jirking Manner ; and obferve to found the four Minims at the 
End in one Breath, and jirk the two laft only. The following are Examples. 



s£ 



m 






■ 9 j S — 4 9- 



fe-« C ,g 



Ton nah ton nah ton nab ton nab ton nab ton nab ton nab 




ton nah ton nab. Ton ton non ton ton non non non nab. 

The HUNTING NOTES. 

The Call in the Morning. 




gg ^^^ggm 



S7\ /T\ •^ v > 






T\ 



/7\ 







„ p /"\ 






57;^ Uncoupling the Hounds. 



fir 



0— «!-«-«-«-a- ©-©• 







=Sffiq&R 



■0 ]■ HOEB- 



-©'-©I' 



STfo iM y&w?;>. 




Inftruaions for the ifttttCi) ^Ottt* a? 



/T\ 



The Running. 






•7N 

ESQ' 



I 



Cherijh when the Hounds are in fnll Cry. 



Bd 






feEg^J^E&E£ 



fc 



fefeN^j^^ 



•-•'-•-•— «— V — *-# 



3= 



jT/6<? Breaking Cover. 



/TS /O 



/TN 



l^^^^^ ^^^^^^ ^^^^B 



j 
A 



A /^ A 



J vv/ w 7 . Ti l •# V«7 VV : «- 




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VL^ 



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a3 Inftrudions for the iftttlCi) i^Oli 



The Fault, or Call Back. 




The Soil. 



n /7n ~-> ^ /A. v?N ■'ST 



^^^ m^^^^^m^^^^ 






w 



f?\ /7\ ^T\ 



f7\ rz\ /7\ 



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pg^B 



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r 1 



:bb 



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■ — ^•"r~~B~7 H n ~rq - 



d H-h-H -f-ai 



Tfo Death of a Stag, or any other Game. 



I'z 



.«nl«*3 

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■■HBcr^a 



'W r :T 



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as 



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Inftruaions for the JFtettClJ tyUtU *9 

The Retreat frtfm the Field. 






K±*± 



w 



n 



# 



: F: 




77;*? Huntf?nan's March. 



ES 



JBOO 



s 



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gfeg|gj^^j^Mi£g^g 



q?qsq®=)?=: 



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(3i ) 



Inftru&ions for the ^arpftCijOrSJ, &c 

BEFORE you can attain to play the Harpsichord, Organ, or Spinnet, 
you muft learn the Gamut, or Scale of Music, by Heart ; with the Names 
of the Notes, and what Lines and Spaces they ftand on. In order to which 
you muft know that all Leffons for thefe Inftruments are prick'd on two Staves, each 
confifting of five Lines. The firft, or higheft Stave contains the Treble ; and the fe- 
cond, or loweft, the Bafs. But for the better Underftanding your Notes, and to 
what Keys of your Inftrument they refer, be pleas'd to obferve the foregoing Scheme ; 
in which there are thirty-fix white Keys, and twenty- five black Keys (fomewhat 
fhorter than the others) placed between them, which ferve for Flats and Sharps ; for 
Example, the fhort black Key between G and A ferves both for G fharp and A flat ; 
as does that between A and B for A fharp and B flat ; therefore if any Note has a 
Sharp fet before it you muft touch the fhort Key above it, and if there be a Flat 
touch the fhort Key below it, and fo on with all the inward Keys, which are Flats 
to the Plain Keys above and Sharps to the Plain Keys below them. ^ Between B 
and C, and E and F, there is no fhort Key, becaufe their Intervals are naturally but 
a Half Note. 

Of Time, or the Length of Notes, Bars, Rests, 6iV. 

There are fix Sorts of Notes now in Ufe, which are a Semibreve, a Minim, a 
Crotchet, a Quaver, a Semiquaver and a Demifemiquaver. Their Proportions to 
each other are thefe ; a Semibreve as long as two Minims, four Crotchets, eight 
Quavers, &c. See the following Example. 

A Semibreve. -"— **■»%- O 



°\ <=) 




Two Minims. 
Four Crotchets. 

Eight Quavers. 

Thirty-two Demifemiquavers. LHJ VMYt h&fiT Y, B V 6 L-UJ V V k \i '-feU WVM 

There are two Sorts of Time, Common and Triple. Common Time is known by 
fome of the following Marks or Characters. The firft of thefe Marks, or Moods, 
denotes the floweft kind of Movement, and contains a Semibreve (or as many other 
Notes as are equal to it's length) in a Bar, and muft be held as long as you can di- 
ftinaiy tell i, 2, 3, 4. The fecond denotes a Marks of Common Time. 

Movement fomewhat fafter than the former, and 
contains alfo a Semibreve in a Bar. The third 
denotes a brifk Movement, and contains but one 
Minim, or two Crotchets, &c. in a Bar — This is 
call'd Retortive Time. The fourth Mark contains twelve Quavers (or Notes to their 
Value) in a Bar ; the fifth fix Quavers in a Bar, and the Jaft'fix Crotchets in a 
Bar. Thefe three laft Characters are fixed to Jiggs, &c. 

Triple 





jx Inftrudfcions for the $a?ptic$0ti>, &c. 

Triple Time is known by the following Characters ; the firft of which has three 
Minims in a Bar, and is the floweft Triple Time in ufe. 

The fecond contains three Crotchets in a Bar, and is Marks °f Triple Time. 

fixed to Minuets, and play'd quicker than the former. 
The third contains three Quavers in a Bar, and is the -§-§— <?>-0 
quicker!:. The fourth Mark contains nine Crotchets in 
a Bar ; the laft nine Quavers. Thefe laft are rarely made ufe of, and then to Jiggs, 

K^ A Point or Dot added to 
any Note, whether Minim, Crot- 
chet, &c. makes it half as long 
again ; and mull always be put on 
the Right Side of the Note j as in 
the Example following. 

1 I ^' ' > 

o • o • • ■ • • ° • 
qqq f 



© © .® 9 © © © 



Example of Rests. 
■Semibreve. Minim. Crotchet: Quaver-. Semiqv. 




-T- 



2 Bars. 4 Bars. 8 Bars. 1 6 Bars. 



24 Bars. 




3= 



IE 



I I \) \) ') td 

Note. A Semibreve Reft is a whole Bar, in any Time whatever. 



Single Bar. Double Bar. 



Repeats. Direcls. Paufe, or Clofe. Da Capo. 

=3E^z= ^ 






"W""~ 



'y^i 



-IH^flp 



A Single Bar ferves to divide the Time according to it's different Meafures, whe- 
ther Common or Triple. A Double Bar ferves to divide every Strain or Part of a Song 
Or Lefion, A Repeat fignifies that fuch a Part of a Song or Leffon muft be perform'd 
over again from the Note over (or before) which it is fet. A DireSi is put at the 
end of a Stave, and ferves to direct to the Place of the firft Note in the next Stave. 
A Paufe fignifies that the Note over which it is placed muft be held out fomewhat 
longer than the ufual Time. — The fame Mark alfo denotes the End of a Tune. DC, 
or Da Capo, fignifies that the Tune does not end there, but muft be begun again, and 
play'd till you come to the Mark 7" mention'd before to denote the End of the Tune. 

Of Flats, Sharps, and Naturals. 

These Characters, marked as in the Margin, are very fignificant in Mufic, and 
muft be particularly regarded. If a Flat be placed before any Note it fignifies that 
i'uch Note (and all the following Notes in the fame Bar, except mark'd to the con- 
trary) muft be play'd half a Tone lower than • pi ats Sharps. Naturals. 

it's natural Pitch. The Sharp is of a contrary , \ji 

Nature ; for whereas the Flat takes away a 3iEj~ ~ElEE[ ~^"~I 7~$~ Fft 1 — B~F~T1^ 
Semitone, or half Note, from the Sound of '~1 1 — — b-— j— ^— |^— ^-R-g p 
the Note before which it is fet, the Sharp adds a Semitone to whatever Note it is 
fet before : For Example, if a Flat (or Flats) he fixed at the beginning of any of 
the five Lines, it not only affects every Note on fuch Line, or Space, but alfo all 
the Notes of that Denomination thro' the whole Movement ; fo if a Flat be fixed 
on the Middle Line, B, all the B's (or Octaves) both above and below that Line 
muft be play'd flat, except mark'd to the contrary by a Natural. The fame is alfo 
to be obferved of the Sharp ; fo if a Sharp be fixed on the higheft Line, F, all the 
F's are to be play'd (harp thro' the whole Tune, except a Natural be plac'd before 
ibme of them to denote the contrary. A Natural ferves to reduce any Note, made 
fiat or fliarp by the Governing Flats or Sharps fixt at the Beginning, to it's primitive 

Sound, 



Inftru<aions for the ^atpfiClJOtk &c 33 

Sound, as it ftands in the Gamut : For Inflance, a Flat being placed on B makes 
all the B's flat, as aforefaid j but if the Compofer mould have a Mind to have fome 
one, or more, of them fharp, then the Natural is fet before fuch Notes. 

Of the Graces on the Harpsichord or Spinnet. 



Shake. Explained. 

M 




Beat. Expl. Forefall. Expl. Backfall 



B iliBi^agS 



Expl. Plain Note & Shake Expl. Turn. Expl. Shake turn'd. Expl. 

«*rw«w«~t_, ^_ 1 hmmmtKtk ■ 

— j —fmiamml — i 






53 1 Shake from the Note above, and beat from the Note, or Halfnote, below. 

Of Fingering the Harpsichord, &c. 
Tho' there is no certain Rule for Fingering, yet the following Preludes, if well 
obferved, may be a great Help towards putting the Beginner in the true Method. 

* ft » In Fingering, the Thumb is call'd the fvft Finger, and fo on to the Little Finger, which is the fifth 

A Prelude for Fingering. 
12341234 2341234 4 3 2I 43 E 13214311 




43214331 3414 3a 1 123412312341234 




P^^^^^^^^lf 



Another Prelude for Fingering. 
123 4123 4123 4123 41234123 41 J341 2345 : 1 4S ir 




Volii 



34 Inftruftions for the $atpfic|)Ott>, &c 



434243424342434 2434 2434 243a 3 a 



B-r- < ._ e "*-fe-^- ia -»- e -Hg-^1»-a 




4 3 a 143 2 



23s 



jfe^S 3 



4123 



SEE 



!z&_» 



=ES 



3j: 



RULES for attaining to play a Thorough Bass. 

Music confifts of Concords and Dif cords. Concords are either perfeSf or imperfett : 
The Perfect Concords are the 5/^ and Stb ; the ImperfecT: Concords the 3^, 4^ 
and 6tb. Difcords are the 2^, the Tritone or (harp 4?/;, the flat <jtb, the 7^ and 
the qtb. — Tho' the id and the <)tb are the fame Thing, yet their Accompany men ts 
are very different. Common Chords are the 3<r/, $tb and Stb. There are two forts of 
Thirds and Sixes, viz. flat and fharp ; a flat Third contains four Semitones, or 
Half Notes, and a fharp Third five. A flat Sixth contains nine Semitones, and 
a fharp Sixth ten. 

Concords. Difcords. 

b3 #5 4 S 65 «? 8| 2rf 4, \>3 



Example. 




-fcr^" 



Common Chords are to be play'd on any Note where nothing is maiked, except 
when you play in a fharp Key the 3d and 7th above the Key naturally require a 6th j 
but if you play in a flat Key then a 6th is required to the 2d and yth above the Key, 
unlefs mark'd otherwife. All Keys are either flat or fharp ; not by what Flats or 
Sharps are fet at the beginning of a Tune, but by the Third above the Key ; 
for Example, if in the Third above the Key-Note there be two whole Tones it is a 
Sharp Key, but if only a Tone and Half it is a Flat Key. Two Fifths or two Octaves 
are never allow'd in playing a Thorough-Bafs, nor in Composition ; therefore the 
beft Way is to move by contrary Motion. All extraordinary fharp Notes naturally 
require Sixes, unlefs mark'd to the* contrary. All natural fharp Notes require flat 
Thirds, and all natural flat Notes Vfequire fharp Thirds. 15, E and A are naturally 
fharp in an3*)pen Key, and F, C and G are naturally flat. 

Of Common Chords and Natural Sixes. 
J I I I 1_ I > I 




8d?> A Sharp or Flat put under or over any Note fignifies that a fharp or flat 
Third mult be play'd to that Note. 

If 



Inftru&ions for the 



y &C- 



IS 



If a natural flat Sixth be required to any Note, you may play either two Thirds 
and one Sixth, or one Third and two Sixes j but if the Sixth be {harp the beft 
"Way is to play 3d, 6th and 8th. 



Example. 



When you fee the 2d and 4th joined together they 
are to be accompanied with the 6th. £§> The 2d is "^ ( 
only ufed when the Bafs is a Driving Note. 




<3 



The 2d and {harp 4th are likewife accompanied with ^ 
a Sixth. This Paflage alfo happens when the Bafs is a "|« 
Driving Note. * 



The 2d is accompanied with the 5th and 9th, 



f 




ggia 



The 3d and 4th joined together may be accompanied -si 




cither with a 7th or with a {harp 6th. This Paflage fel- | 

dom happens but when the Bafs afcends by Degrees. cq | Q^— 1 -- 



The flat 5th and 6th joined together muft be accom- ^ 

panied with a 3d. Here, if you think fit, you may add ^~" 11 

the Odtave. 1^ The natural 5th and 6th joined toge- ^ j ^ < ^f— <±vS r 
ther are accompanied the fame Way. 



The extreme fharp 2d and 4th mutt be accompanied -^ 

with a 7th. This Paflage is feldom ufed but in order to .* 
a Cadence. *J 




The 



g 6 Inftruftions for the J^atpficIJOtlX, <&c. 



The 6th and 4th joined toge- 
ther are accompanied two different 
Ways : If the Bafs defcends by 
Degrees, they are accompanied § 
with a 2d ; but if it lies ftill, or ^ 
moves by Intervals, with an 8th. 



The 7th and 5th joined together are accompanied «sj 
with the 3d. This Paflage is often ufed before a Ca- | * 
dence. fcq 




The extreme flat 7th and flat 5th, joined together, 
which are never ufed but to the Note before a Cadence^ | 
require a 3d to accompany them. fcq 



The fharp 7th, when the Bafs lies ftill, muft be ac- -si . 

companied with the 2d and 4th. This feldom or never | ^ y . s ^ — -i m-i 

happens in a (harp Key. fcq i — ■ ' Q ~- -Q -H 



•a ( 



The 9th refolved into an 8th muft be accompanied ■&< 

4 



with a 3d and 5th. 




im=a 



jgiiMi 



The 4th refolved into a 3d is always ac- -ei, \-H^-<3 -*S — *— - Q— — -o- 

companied with a 5th and 8th. § \ Q ' 4J5 O « '4I5 



The 7th refolved into a 6th may be accompanied f« 
with a 3d and 5 th : But you muft drop the 5th when § 



you touch the 6th : 



«J 




The 



Inftru&ions for the Ji^atpficIjOrlX, &c. 37 



The 9th and 4th joined together are accompanied 
with the 5th, and rcfolved into the 8th and 3d. 




The 9th and 7th joined together muft be accompanied 
with the 3d, and refolved into the 6th and 8th. 



There are three Sorts of Cadences, or Ways of preparing for a Clofe ; which 
are, the Common Cadence, the 6tb and %th Cadence and the Great Cadence. The firft 
and third of thefe are moft properly ufed in Common Time, and the other in Triple 
Time' j yet the Common Cadence is very often ufed in Triple Time. 

c3 




<3 




There is another Cadence, called the 7th and 6th Cadence, which is nothing 
elfe but the 7th refoved into a 6th, and from thence into an 8th. This Cadence is 
never ufed before a final Clofe, unlefs it be in Adagios or any other Sort of Slow 
Movement. 'Tis ufed both in a fliarp and in a fiat Key. 




Ex. in a Sharp Key. V I _^ Ex. in- a Flat Key 




Observe, in the fwft of thefe Examples, that the 7th defcends but a Half Note 
into the fharp 6th ; whereas in the other Example it defcends a whole Note into 
the fharp 6th. Obferve alfo, in the firft Example, that the Bafs defGends a Whole 
Note j whereas in the fecond it defcends but a Half Note. 

Of Discords, and how many Ways they are Prepared and Refolved. 

Before you can play a good Thorough Bafs you muft know thefe three Things, 
with refpect to Difcords ; firft, how to prepare them -, fecondly, how to accompany 
them j and thirdly, how they are refolved : In order to which obferve the following 
Rules. 

The 2d is always ufed when the Bafs is a Driving Note, and in that Cafe if it be 
prepared by a 3d or 8th it muft be refolved into a 3d, the Bafs defcending a Whole 
Note or a Half Note. 

The extreme fharp 2d muft be prepared by a fharp 3d, and refolved into a fliarp 
3d or a 6th. 

The 



38 Inftruftions for the $atp(tc|}0£&, &c 

The 4th, when joined with the 3d, is prepared by a 5th, and refolved into a 3d, 
the Bafs afcending by Degrees. 

The natural- 4th and fharp 4th, when joined with a 2d, may be prepared by a 
3d or 5th, and refolved into a 6th 3 the Bafs defcending one Note. 

The fharp 4th may alfo be prepared by a 4th or 6th, and refolved into a 6th. 

The natural 4th, when joined with the 5th or 6th, may be prepared by a 3d, 
5th, 6th, or 8th, and refolved into a 3d ; but that in order to a Clofe. 

The flat 5th, when joined with a 6th, may be prepared by a 3d, 4th, or 5th, 
and refolved into a 3d. 

The natural 5th, if joined with a 6th, may be prepared by a 3d, 6th, or 8th, 
and refolved into a 3d, when in order to a Cadence. 

The 7th may be prepared by a 3d, 5th, 6th, or 7th, and refolved into a 3d or 
6th j fometimes from a 7th to a 5th, before a Cadence : It may alfo be prepared 
by an 8th, and refolved into a 6th. Moreover, it muft be prepared by an 8th when 
it is refolved into a 3d, at a Clofe. 

When the Bafs lies ftill the fharp 7th may be prepared by an 8th and refolved 
into an 8th again, which is generally in a Flat Key. 

The 9th may be prepared by a 3d, 5th, 6th, or 8th, and refolved into an 8th, 
the Bafs lying ftill 5 but if the Bafs fhould rife a 3d, then it is refolved into a 6th ; 
but if the Bafs falls a 3d, then it is refolved into a 3d. 

The 9th, if joined with the 7th, may be prepared by a 3d or 5th, and refolved 
into an 8 th ; and the 7th into a 6th. 

The 9th and 4th joined together are beft prepared by the 3d and 5th, and re- 
folved into an 8th and 3d. 

Here follow feveral Examples, wherein thefe Difcords are promifcuoufly ufed,, 
as Occafion requires. 

Examples in a Flat Key. 



1_J_JL_j 




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Inftruftions for the $&rp(tcl)0tt>, &c. 39 



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Examples in a Sharp Key. 






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+ 3 



4- 



77 7 



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jrfctZ It p" C^f-0 p rrr-i-l P-i»-»-P— -h*~ w — P^P 



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Some 



40 Inftruftions for the ^ajtpltclJOtlX, &c. 

Some Examples, mewing what may be done when the Bafs defcends 

by Degrees. 



In a quick Movement the Natural Way 
is to play Sixes. 






The Natural and Artificial Way. 



sfes 



^cH 1 




<T <T <r Vl^r <r 




The Common Way. 



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pi^l 






6" 7$W 



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tfr 7i<r 



When the Bafs afcends by Degrees. 






The Artificial Way. 



When the Bafs afcends by Degrees. 






For the better rememb'ring all forts of Chords, and what Chords they make to 
any other Notes, obferve that a Common Chord to any Note makes a 2d, 4th 
and 7th to the fecond above it ; or a 3d, 6th and 8th to the third above it ; or a 
2d, 5th and 7th to the fourth above it ; or a 4th, 6th and 8th, to the fifth above 
it ; or a 3d, 5th and 7th, to the 6th above it ; or a 2d, 4th and 6th, to the feventh 
above it. In like Manner obferve what any other Chord to any Note makes to the 
2d, 3d, 4th, &V. to any Note. 



Example. 




p§h \wm 



The 2d and 4th to any Note. 
I 






The ith to any Note, 



The 4th and 6th to any Note, 



Inftru&ions for the $&£pficf)0tl), &c 41 

The 2d, $th and jth, to any Note. The 6th to any Note. 




^^ ^^^^mm ^^^^^ 







The 2d, ifth and jth, to any Note. 



27^ 3^f <z«^ 4^ /<? #«y Note. 



E? 1 ^ 




bf .& 



A Sharp Seventh, marked where the Bafs lies 
ftill, makes a 3d, fharp 6th and 8th to the Note *|- J 
above it ; and a 5th, 7th and fharp 3d to the 4th >s 
below it, or 5th above it. 



The 9th and 4th to any Note is the perfect 5th 
6th and 3d on the Whole Note below it, and flat 
5th 6th and 3d on the Half Note below it ; as alfo 
3d, 7 th and 9th to the 3d above it. 



The 9th and 7th to any Note is the 4th 5th . 

and 9th to the 3d below it, and the perfect 5th, 6th |^ 

and 3d, to the 5th above it ; as alfo the flat 5th, J 
6th and 3d, to the extreme fharp 5th above it. 



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apgjPli 

- o j-r - Q — fiJ-Q- 
% £ *% bf H 9 7 







83" The flat 5th and fharp 4th, the extreme fharp 2d and flat 3d, the extreme 
flat 7th and fharp 6th, the extreme flat 4th and fharp 3d, the extreme fharp 5th and 
flat 6th, upon any fretted Inftrument, as the Harpfichord, Spinnet, fcfV. are the fame 
Thing in Diftance, yet they are diftinguifhd as under. 








Of Division by Suppofition. 

. T° find the juft Chords, in Divifion by Suppofition, is, perhaps, one of the moft 
critical Beauties in the Pradice of Thorough-}* I But, where there is no Score, 
or Upper Part, to point them out, the unexj \ Performer will be often per- 

plexed , 
F 



4* Inftru&ions for the $atpficl)Ottk <&c. 

plexed. To fuch, therefore, it may be necefiary to obferve, that, in all PafTages 
founded on this Rule of the unprepared and tranfient Difcords, the Harmony, which 
■ is fuppofed to follow the Difcord, is always melted into the palling Note, and thence 
is called Suppofition. To elucidate this Difficulty the following Example is laid down v 
with the Method alfo of figuring this kind of Divifion ; by which it will appear that 
the Chord defcribed by the Figure mull be ftruck to the preceding Note thus mark- 
ed : 

* Example. 



Divifion by 
Suppofition. 

Fundamental 
Bafs. 




Of TRANSPOSITION. 



Before you can Tranfpofe from one Key into another, it is neceflary to know 
all the Flats and Sharps naturally belonging to every Key, which are as follow. 



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ft g 



S 3 ^ 

ft 
to c 



a>0 

ft % 

u> ft 
5- c 



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tt> 



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to J> 



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a- 



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Additional Flats and Sharps, 
in Order. 



KT The 



Inftruftions for the $a?p(tcf)0tD, &c. 43 

£3* The Reafon why I call Flats or Sharps firft, fecond, third, iSc is, becaufe 
B being the fharpeft Note in the Diatonic Scale, E the next, and A the next, the 
firft accidental Flat muft be on B, the fecond on E, &c. The fame holds good in 
reipeft to Sharps ; for F being the flatteft Note in the Diatonic Scale, C the next, 
and G the next, the firft Sharp muft be on F, &e. with ever fo many Sharps or 
Flats. 

Of the Cliffs, and their feveral Removes. 

The next Things neceflary to be obferved are the Cliffs, and their feveral Re- 
moves j as follows. 

F-faut Cliffs. C-folfaut Cliffs. G-folreut Cliffs. 



Example of the three 




In a Jharp Key, the Natural Key. 



D, a Note higher. 

- f -- y* - 1 up , ' ■■ 



Iffeffi^lg 



Wk 



E fiat, a fiat Third higher. 




E, a /harp Third higher.- 




F, a Fourth higher. 







G, fl i^^ higher, 









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/» « /7«/ .£>;', *^ Natural Key. 



1?, a Note higher. 
C, a fiat Third higher. 

LH-cH&gte-g: i 4 f s _„- 



C Jharp, a Jharp Third higher. 
6~ 7er% 5 <T 4#5 



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-rrft 



Z), a Fourth higher. 



a^Ed 



fe ^^ff 



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i^, <2 J®stf 5/*^ higher. 



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yf, a Jharp 



Inftruftions for the $avpfic|)0¥l>* &c. 

F /harp, afliarp Sixth higher. 

Q ft n <r7£$3 S At? 



ii 

J 9 a jharp Sixth higher. 



p^Sgagpgs 



i?^tf, ^atf Seventh higher. 

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jB _/?wr/>, tf y2wr/> Seventh higher. 
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G natural, a fat Seventh higher. 



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G yWf , # yW/> Seventh higher. 



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{C^ You are here to obferve what Flats or Sharps belong to every one of thefe 
Keys, and imagine the Cliff that puts you in the Key you have a Mind to play in ; 
thus you may, with a little Practice, tranfpofe as you play, without altering either 
Lines or Spaces. 

RULES for tuning the Harpsichord or Spinnet. 

First fet your Inftrument to Concert Pitch by a Pitch-Pipe, or Concert Flute, tak- 
ing your Pitch from C-folfaut, as in the Scale following ; then tune your 8ths, 3ds 
and 5ths, as the Scale directs ; and when you have tuned the Middle, or as much 
as is fet down in the Scale, the remainder, both above and below, mult be tuned 
by Odtaves. 

The Pitch. The Manner of Tuning. 

-©- -©- 1 XL 



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&V. to the Top. 



:t) : t" g - t ^ 10 ^ 11 ^ iS#i to the 
==^P0=I:^Z©Z^^1 bottom. 

Observe that all jZwrp 7Krir muft be as Jharp as the Ear will permit, and all 
Fifths as fat as the Ear will permit. 




£3* Now and then, while you are Tu- 
ning, you may, by Way of Trial, touch 
Unifon, Third and Fifth ; and afterwards ^] 
Unifon, Fourth and Sixth s as in the Ex- 1 
ample annexed. 



Example. 




THE 






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10 




Inftrudions for the f llOlOtlCeiiO or J5af 3 WOlilt 



TH E Violoncello is an Iuftrument of great Service in Concert j and as 
the Bafs Part, in general, is not very difficult, a Perfon may foon perform 
fo as to be ufeful on the Bass Violin. The firft Thing neceflary to be 
learnt is the Gamut, as under, which the Learner muft get by Heart, fo that he 
may readily know any Note, and how it is to be play'd, when he fees it in a Lef- 
fon, Concerto, &V. 



The Gamut for the Bass Violin. 



4th String* \ 3d String. 



2d String. 



ift String, 



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2 4 



2 4 





A 


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£3? O fignifies open, I the firft Finger, 2 the 2d Finger, and 4 the Little Finger.. 



Thus the fourth String open is 

Example. 



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^m 



-4- 



The Bafs is timed by Fifths, like the Violin 
CC, the third String G, the fecond String 
D, and the firft String A, as in the Exam- 
ple. But if you cannot put your Inftru- 
ment in Tune by the above Directions, 
you may do it by the fame Method made rif*~ w ~ 

ufe of for the Violin, p. 8, by drawing a ^^ ^ x -*- -" L - 

Line acrofs the Fingerboard of your Bafs, at the fame diftance from the Nut as the- 
loweft Line in the following Example ; and fo fere wing the firft String pretty tight, 
(i. e. to make it the fame found as the loweft A-lamire on a German Flute) put your fe- 
cond Finger on the fecond String, on the aforefaid loweft Line, and caufe it to have 
the fame found as the firft String open ; then put your fecond Finger in like manner 
on the third String, and caufe it to found like the fecond String open, and fo on.. 

When your Bafs is in tune you may proceed to play the Gamut, obferving that 
there are four Notes belonging to each String : Thofe of the 4th String are CC, 
DD, EE and FF ; CC is play'd open, DD is flopped with the firft Finger, about 
three Inches from the Nut ; EE with the fecond, nearly the fame diftance from the 
firft, and FF with the Little Finger, about an Inch and quarter from the fecond. 
Thofe of the third String are G, A, B and C ; G is open, A is ftopped with the 
firft Finger, B with the fecond, and C with the Little Finger, as on the 4th String. 
Thofe of the fecond String are D, E 3 F and Gj G is play'd open, E is ftopped 

with 



with the firft Finger, about three Inches from the Nut ; F with the fecond, about 
an Inch and half from the firft, and G with the Little Finger about two Inches and 
a quarter from the fecond. Thole of the firft are A, B, C and D ; A is open, 
B the firft Finger, C the fecond, and D the third, flopped as on the fecond String. 
But, for the Learner's further Improvement, on the following Page is an Example 
wherein the Fingerboard of a Bass Violin is reprefented, and divided into Tones 
and Semitones, according to the foregoing Directions, which will greatly facilitate 
the flopping in tune. 

The Bow muft be drawn acrofs the Strings parallel to the Bridge : But as both 
Bowing and Fingering is not only difficult to defcribe but alfo praclifed various 
Ways by different Performers, what has already been faid will be found fufficient 
for an Introduction to playing this Inftrument. 

Only obferve, further, That when the Tenor Cliff is found in the Bafs Part 
it denotes, generally, that all the Notes following, till the Bafs Cliff is again in- 
troduced, are to be play'd a fifth higher. For a particular Explanation of all the 
Cliffs and their feveral Removes, Transposition, &c. fee p. 42. 43. 




■%»* 

**■* 


0> 


B 


g 




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£ 


<u 


« 


OS 


« 




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>> 


O 


fl 


o 




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c 


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«-> 


4-1 


Si 


G 


Q 


fi 


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3 


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CO 


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G 

c4 


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Open Notes. 



SB 



E 



B 



I EEbBb 



EE 



EE 



B 



F 



1 Firft Finger. 



c 



Ft 



G 



Second Finger. 



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Gl 



B 



Little Finger. 



Di 



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UJ 4> 



GO 



ft 



THE 



MUSES DELIGHT. 



An Accurate 



COLLECTION 



Of Italian and English 



Songs 5 Cantatas and Duetts, 



To the Reader. 

The Young Pra&itioner, who might poflibly be at a Lofs without this Hint, as 
he would probably expect to find the Governing Flats or Sharps fet to the be- 
ginning of every Stave, (which tho' common in Printed Mufic are not fo neceflary 
but they may be difpenfed with) is defired to obferve, That the Governing Flats 
or Sharps, fixed only to the firji Stave of each Part thro'jever$il Movements in this 
Work, are to be play'd thro' each refpedtive Piece, as if they had been fixt at the be- 
ginning of every Stave : For Example, in the following Song every B and E mufl 
be flat thro' the whole, tho' marked only at the beginning of the firft Stave of each 
Part, except a Natural denotes the contrary. And fo of the reft. 



THE 



frwmi««»n««i«wtiw" " i ""»" iH " i MW "' " l ' " ""m'''»''"""»"''»< mm i i ii 'millul» l lJIU I W 




THE 



iiniiuiuMuiiiliiiiiuin 



MUSES DELIGHT, &c. 



Aniantt- 



^m&r 



The Wit and Beau. Set by Mr. Oswald. 

Y 



sfei^i^ 



With cv' — ry grace young Strephon chofc, Hi* per — fan to a--dorn ; 



J ^3J^5jE|^ ^ ^EJEJ^^ ^^ pf^ 




-=g$mm&i^ 



That by the beauties of his face, In Sil via's 



ai 






g^^^A:M^^#ggpi 



love he might find place, and wonder'd at her fcorn. 



^^^^^^^»^^^^^1 



With bows and fmiles he did bis With change of habits Strephon This found, his courtfliip Strephos 

part, prefs'd, ends, 

But ah ! 'twas all in vain ; And urg'd her to admire ; Or makes it to his filafs ; 

A youth lefs fine, a youth of art, His love alone the other dreft There in himfelf now fecks amends, 

Had talk'd himfelf into her heart, As verfe or profe became it befr, Convinc'd that where a wit pretends 

And would not out again. And mov'd her foft defirc- A beau is but an afs, 

The 



The <$JttCt£ Delight. 

The Judicious Fair One. Set ly Mr. Holcomb. 





fm$mmi&mm&m^ 



You tell mc I'm handfomc, I know not how true, and ea— — fy and chat ty and 

r — j ft- -£ - -0- -».- 



^~C 



^^ 



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r*~r 



— p -^ — y- -y y-. 






^^^g^g ^g gg^j 



good-humour'd too ; that my lips are as red as a tofe-bud in June, and my voice like the 



gFF*r={ 



§ 



BM&MMM 



rrfEti^SbnAEfcife 



#^te^^^^^^^^ 



nightingale fweetly in tune : 



&3f4=z= 



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fe 



^P? 5 ! 



1 



SM^Sp^^ 



•"\ 



i~ ji>^~ -^-^»^^ — pr-] 



All this has been told me by twenty before, but he that would win me mult fla 



^^^^^^^ ^^^^ ^3 



a 






llSpl^ 



ter me more ; but he that would 




The $&UU8 Delight. 



49 



For charms fuch as thefe then your For Cloe the wanton can rival me 



If beauty from virtue receives no 
fupply. 

Or prattle from prudence, how want- 
ing am I ! 

My eafe and good-humour fliort rap- 
tures will bring, 

And my voice, like the nightin- 
gale's, know but a fpring : 



praifes give o'er, 
To love me for life you muft yet 
love me more. 
To love me, &c- 



tli ere ; 
'Tis virtue, alone, that makes beau- 
ty look gay, 
And brightens good-humour as fun- 
fhine the day : 
3. For that if you love me your flame 

{hall be true, 
Then talk to me not of a fliape or And I in my turn may be taught to 
an air, love too. And I, &c> 



The Charms of Belinda. 



Set by Mr. Corfe. 




^^E^gg^fc^ 



m 



m 



# 



0&&^MmE£±0Jg^^^ 




fe^^^l£i : #^i^¥^:^ El 



nymph y feems to love in — clin'd Is e— ver love — ly fcen : Has wifdom's goddefs 



aqE££^E^: 



°mtf^=F= 



1 rc r ^. , g £ - , ^~T ~. . p A . ^ O . 



in her mind, And fair as beauty's quee n, And fair as beauty's queen. 



HH 



&&=f*±tg^ 



^=£=¥ 



/~\/~\ r\ r* 



r\ s*\ 



pmm£msmfm?m!^ m 



^ ^=j^^ ^ Ft=^=^^ h 



^=?=n& 



a. Her breath fuch odors does difclofe, 5. 

Chafte as Aurora's dewy lhow'r, Perfumes whate'er it meets. 

That purifies the morn, Perfumes, &c Such is the nymph, and fuch my 

And drops it's fweetson ev'ryflow'r love, 

That does her neck adorn- 4. With all her native charms ; 

That does, e$"c- Her lilly brcafts are like young doves Pro t eft her then, ye pow'rs above, 
With innocency bleft, To blefs Philander's arms. 

3' And at each other trembling move, To blefs, &c 

Her cheeks are like the op'ning rofe, As fearful to be preft. <rrJ 

That blufh.es at it's fweets ; As fearful, &c Ct The 



fo The ipufeS Delight. 

The Faithful Shepherdefs.. Sung by Mr. Lowe, at Vauxhall. 

5-" 




^ ^^^^ ^^ ^^^^^g 



At fetting day and fifing morn, with foul that ftill fliall love thee, I'll ask of hcav'n thy 



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fj~— T^ 



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fafe return, with all that can irn — prove thee : I'll vi lit oft the birken bufh where 



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firft you kind — ly told me foft tales of love, and hid my blufll, while round you did enfold me. 



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To all our haunts I will repair, With thee upon yon mountain : By vows' you're mine, by love is 

By green-wood iliade or fountain ; There will I tea the trees & flow'rs, yours 

Or where the fummer's day I'd fliare From thoughts unfeign'd & tender, A heart that cannot wander- 

The ROVER. Sung by Mr. Beard, at Ranelagh. 



^te^^teS ^i^ 



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w 




woman kiwi* 



The <2&ttitS Delight, 



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womankind, the frnart the fair the witty ; the fmart the fair the wit — ty ; 








giPISiiliipg 



In Cupid's fetters moft fevere, I languifh'd out the long long year, The Have of wanton 




Kitty The Have of wanton Kitty. 



m^mm 




At length I broke the galling chain, 
And fwore that love was endlefs 
pain, 

One conftant fcene of folly ; 

Gne conftant, &c- 
I vow'd no more to wear the yoke, 
Bat foon I felt a fecond ftroke, 

And figh'd for bke-ey'd Molly- 

And figh'd, &c% 



With trefTes next of flaxen hue, 
Young Jenny did my Soul fuhdue, 

That lives in yonder Alley j 

That lives, &c- 
Then Cupid threw another fnare, 
And caught me in the curling hail 

Of little tempting Sally- 

Of little, &c 



Adorn 'd with charms tho' blithe and 

young, 
Myroving heart from bondage fprur.g 

This heart of yielding metal ; 

This heart, &c- 
And now it wanders here and there, 
By turns the prize of brown and lair, 

But never more will fettle. 

But sever more, &c- 

The 



n 



The UPttftS Delight. 

The Sincere Lover. Set by Mr. Or me. 



m^=im0®mgm 




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Sil via fliall I fpeak. or die, My Heart is burft — ing with a figh 5 My 



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heart is burft — ing with a figh : 



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Let it have vent ; oh .' hear the plea Of love and ftrift fin ce- 

— 1 r r^r — w mT ~ r ; 



-ri— ty. Of 



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The 



The 4$)tt{e§ Delight. 



SI 



The fwain who tells his paffion 
beft, 
Is ever thought to feel it leafl: ; 

Is ever thought, «^c 
Yet mult my coward tongue begin, 
For filence ne'er did beauty win- 

For filence, &c> 



It is our duty firft to fpeak, 



The forms of nice decorum break ; 

The forms, &C' 
The blufli of yielding to prevent, 
And rrom a langui/h rteal eonfent. 

And from a languifh, &c- 



To rack my brain for fimile, 
And Arrive to liken aught to thee, 

And ftrive, e^r. 
"Would eloquence, not paflion 
prove, 



Yourlikenefs would divide my love. 
Your likenefs, &c- 



Safe then the lilly and the rofe, 
May, uncompar'd, their fwects dif- 
clofc : 

May, uncompar'd, cJ-f. 
If Silvia's conquer'd, it fhall be 
By love and ftrict fincerity. 

By love, &c~ 



The Happy Couple. Sung by Mr. Lowe at Vaux-hall. 



Poco Allegro* Staccato- 



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p^ffl^Si 



At Upton on the Hill there lives a happy pair, the fwain hi s 

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name is Will, and Mol -ly is the fair : Ten years are gone and more lince 



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Hymen join'd thefe two, their hearts were one be fore the fa — cred rites they knew. 



^^a^^^^^^ p^^^i 



Since which aufpicious day 

Sweet harmony does reign ; 
Both love and both obey : 

Hear this each nymph and fwain. 
If, haply, cares invade 

(As who is free from care) 
Th' irnpreffion's lighter made 

By taking each a iharc 



Pleas'd with a calm retreat 

They've no ambitious view ; 
In plenty live, not ftate, 

Nor envy thofe that do- 
Sure pomp is empty noife, 

And cares encreafe with wealth 
They aim at truer joys, 

Tranquillity and health. 



4 

With fafety and with eafe 

Their prefent life does flow, 
They fear no raging feas 

Nor rocks that lurk below : 
May ftill a fteady gale 

Their little bark attend, 
And gently fill each fail 

Till life itfelf fliall ead. 



The 



T4 



The ^PufeS Delight. 



Th Rural Invitation. Set by Mr. Broderip. 

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Come, dear A — *nan — da, quit the Town, And to the 

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ru ral ham — lets fly ; Be— hold the win try ftorms are gone, A 



Si 



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gen — tie ra diance glaits the sky- A gentle radiance glads tlie sky. 

— t — ^^E 



H3- 



BE 






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The hirds a wake, the flowers appear, Earth 




fpreads a ver— dant couch for thee ; 



'Tis joy and 



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The S0uitS Delight. 






mu— fie all we hear, 'Tis love and beau ty all we fee. "lis lo 

f c r v e g — — -** 




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ve and beauty all we fee. 'Tis love and 

EJUS 



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beau — ty all we fee. 



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Come, let us mark the gradual And peifeft May to fpread the day ; 

fpring, rofe : For foon, too foon, it will be night. 

How peeps the bud, the bloffom And perfeft, &c Arife, my love, and come away 

glows ; Let us lecure the fiiort delight, Aife, &c> 

Till Philomel begins to fing, And wifely crop the blooming 

Delia. The Muficfrom Mr. Howard'* Mufette in the Amorous Goddefs. 

Andante- 







De — lia in whofe form we trace, All that c 



an a virgin grace, 



rain grace, Haik where 



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pE^&E^^^FE^E^E^ ^S 



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pleafure blithe as May, Bids us to Vaux-hall a — way : Verdant viftos, melting founds, 



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ma — gic e — ;ho, fairy rounds: Beauties ev'ry where furprize ; Sure that place dropt from the skies- 



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Did 



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The <!0Utt8 Delight. 

Did you fee e'er a Shepherd. Set by Mr. WoRGAN. 



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Did you fee e'er a fliepherd, ye 






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nymphs, pafs this way ,Crown'd $ myrtle and all the gay verdure of may ? "Tis my Strephon,Oj 




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travell'd and toil'd o'er the plains, In pur— fuit of a rebel that 'sfcarce worth my pains- In pur- 



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fuit of a re bel that's fcarce worth 



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my pains. 



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Take 



The j^ttfeg Delight. 



Take care, maids, take care, 

when he flatters and fwears, 
How you truft your own eyes, or 

believe your own cars : 
Like the rofe-bud in June, every 

hand they'll invite, 
But wound the kind heart, like the 

thorn out of light. 
And, truft me, whoe'er my falfe 

fliepherd detains, 
She will find him a conqueft that's 

fcarce worth her pains* 
She wiU find, &c 



Three Months at my feet did he 
languifh and figh, 
Hi'er hegain'd a kind look or a ten- 



der reply ; 
Love, honour and truth, were the 

themes that he fung, 
And he fwore that his heart was a- 

kin to his tongue- 
Too foon I believ'd, and replied to 

his drains, 
And gave him, too frankly? my 

heart for his pains- 
And gave him, &c- 



The trifle once gain'd, like a 

child at his play, 
Soon the wanton grew weary, and 

threw it away ; 
Now cloy 'd with my love, fromxmy 

arms he does fly, 
In fearch of another as filly as I- 
But, truft me, whoe'er my falfe 



5*7 



fliepherd detains, 
She will find him a conqueft that's 
fcarce worth her pains* 
She will find, &c. 



Beware, all ye nymphs, how yon 
foothe the fond flame, 

And believe me, in time all the fex 
are the fame ; 

Like my Strephon, from beauty to 
beauty will range, 

Like him they will flatter, diffem- 
ble and change ; 

And do all we can, ftill this max- 
im remains, 

That a man, when we've got him, 
is fcarce worth the pains. 
"That a man, &c 



Isabel. Set by Mr. Arne, and Sung by Mr. Baker. 



Andante- 




m^pm^^m^ g^m& , 



Fair is $ fwan, the er — mine white, And fair the lilly, the lil — ly of the vale, $ moon re- 



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fplen dent queen of night, & fnows that drive before f gale , In fairnefs thefe the 



3£ 



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reft excel, But fair — er is my I — label : In fairnefs thefe the reft excel, but 



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Sweet is the vi'let, fweet the But fweeter is my Ifabel 
r °fe, Infiueetnefs, &c 

And fweet the morning breath 

of May; 5. 

'Carnations rich their fweets dif- 

elofeij Conftant the poets call the dove, 
And fwe«t the winding wood. And am'rcus they the fparrow 



bines ftray- call ; 

In fweetnefs thefe the reft excel ; Fond is the sky-lark of his love. 



And fond the feather'd lovers 
all: 
In fondneTs thefe the reft excel, 
But fonder I of Ifabel. 

hi fona?jefs, &c> 

H Vu(k 



tS 



The $0\\U$ Delight. 

Pulh about the brifk Bowl. Set by Mr. Oswald* 



Vivace* 



EE 



PH 



Pufli about f brisk bowl, 'twill en- 



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to 



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liven y heart while thus we fit round on y grafs : The lover who talks of his fufferings & (mart de- 




The wretch who fits watching his The merchant from climate to cli- The formal phyfician* who knows 

ill-gotten pelf, mate will roam, ev'ry ill, 

And wifhes to add to the mafs ; Of Croefus the wealth 10 furpafs j Shall laft be produe'd in thiscJafs J. 

Whate'er the Curmudgeon may And oft' while he's wand'ring my The lick man awhile may confide in 

think of himfelf, lady at home his skill, 

Dsffrves to be reckon'd an afs. Claps the horns of an ox on an afs. But death proves the doctor an afa« 

X>efe;ves, &c. Qap the horns, &c» But death, &c. 

3- s- 7- 

The beau, who fo fmart, with his The lawyer fo grave, when he puts Then let us companions be- jovial: 

\\ ell-powder 'd hair, in his plea, (brafs j and gay,. 

An angel beholds in his glafs ; With forehead well cover'd with By turns take the bottle and lafs 5 

And thir.ks with grimace to fubdue Tho' he talks to no purpofe, he For he who his pleafures puts off 

all the fair, pockets your fee : (the afs,. for a day, 

May jufriy he reckon'd, an afs. There you, my good friend, are TV<V™«»e *n \>p r«<fcr>«»<l an afV. 



Mjy jiifihy &c 



'There jnu-, &c- 

The Charms of Florimel, 



Deferves to be reckon'd an afs« 
Deferves, &c- 




The charms of Flo— ri— mel, No force of . time or art fhall fe— ver from my 




heart; But e— /er to the world I'll tell the charms of beaut'ous Florimel 






Each. 



The i^ttfeS Delight. 



5"9 



Each rock and funny Mil, 

The flow'iy meads and groves, 
Shall fay Myrtillo loves; 
And echo fhall be taught to tell, 
The charms of beaut'ous Florimel> 
And echo, $&:• 

3- 
Each tree within the vale, 
That on its bark doth wear 



The triumphs of my Fair, 
To future times, in verfe fhall tell 
The charms of beaut'ous Florimel« 

"To future times, &c 



Each brook and jiurling rill 
Shall, on its bubling ftream, 
Convey the virgin's name ; 

And as it rolls, in murmurs tell 



The charms of beaut'ous Florimcl' 
And at it rolls', &c. 



The filvan Gods, that dwell 
Amidfl: this flexed grove, 
Shall wonder at my Love ; 
Whilfl: every found eonfpnes to tell 
The charms of beaut'ous Floiimcl- 
Whilfl ev'ry Jomitt, &c« 



The Difconfolate Lover. Sung by Mr. Lowe. 






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Why heaves my fond bofom, Ah ! what can it mean ? Why flut- 



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ters my heart y was once fo fe— rene ? Why this figh — ing and trembling When Daph — ne 



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near ? Or why when flu's ab— — fent this for— row and fear ? Or why 
Q . ^\ ^t-r— • .*- 



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ig^iE^^^- n%E^^^ ^fl 



when file's abfentthis for^— -row and fear ? 



g^El^E^E^glggEp^lg^p^H 



4 With thy face I am charm'd, but There native good humour, and vir. 

enflav'd by thy miad. tue refide ; 

fer ev«r, methinks, I with wonder With thy face, &«• Pray heaven that virtue thy foul 

could trace, may fupply, 

The thoufand foft charms that em- 3 With companion for him, who with- 

bellifh thy face^ . ■ . out thee muft die- 
Each moment I view thee,new beau- Untainted with folly, unfullicd by With compaffion, &c» 
ties I findj F'de, 

The 



6o 



The <S0\xftS Delight. 

The Charms of Lovely Peggy. Set by Mr. HowarO. 



pmpB^^ggg&^^k 



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Ones more I'll tune the 



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ve — cal fllcll, To hills and dales my paf— — fion te!l ; A flame which time can ne — ve«r 



6E 



ifefeE 



fefe^ 



{f^pigg€rir^^i^^^ 



<jucll,That burns for thee my Peg — gy : Ye greater bards the lyre fliould hit, For fay what fubjeft 



€EE 






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is mo?e fit, Than to re — cord the {park — ling wit, And bloom' of lovely Peg— gy ? 



'f) .' r ."i " m "-r- 
, _^-J..__ g. — j — 



^Eg^lfl 



§=Be3 



The Sun firft rifing on the morn,. 
That paints the dcw-bcfpangled 

thorn, 
Docs not fo much the day adorn. 

As does my lovely Peggy : 
And when in Thetis' lap to reft, 
He ftrcaks with gold the ruddy weft, 
He's not fo beauteous, as undrcft, 

Appears my lovely Peggy. 



When Zephyr o'er the violet blows, 
Or breaths upon the damask rofe } 



He does not half the fweetsdifciofe, 

That does my lovely Peggy- 
I ftole a kifs the other dav, 
And trufi: me nought but ti ut h I fay, 
The fragrant breath of blooming 
May 
Was cot fo fwect as Peggy. 



Was flic array'd in ruftie weed, 
With her f bleating flocks Id feed, 
And pipe upon an oaten reed, 
To pieafe my lovely Peggy. 
With her a cottage would delight, 
AU's happy while flic's in my fight, 



But when flic's gone, 'tis endlefs 
night, 
AU's dark without my Peggy. 



While bees from flow'r to flow'r 

fliall rove, 
And linnets warble thro' the grove, 
Or ftately fwans the water love, 

So long (hall I love Peggy- 
And when Death ® his pointed dart. 
Shall ftrike the blow that rives my 

heart, 
My words fllall be when I depart, 
Adieu my lovely Peggy* 



Advice 



The <g&Uit8 Delight. 

Advice to Cupid. Set by Mr. Vincent. 



61 



^^m^m &^m^^^ 



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How can they tafte of joys or grief, Who beauty's power did 



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ne ver prove 



pro vi 



Love's all our torments, 






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re—lief ; Our fate de — pends a 1 



love 5 Our fate de pends a- 



OS 






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& 



lone, on lave. 



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Were I in heavy eha^as eonfin'd | 
Neara's fmiles would eafe that 
irate; 
Nor wealth Dor pow.Y could hlefs 
my loind ; 
Caus'd by her abfence or her hate. 
Cans' d by, &e. 



Of all the plants which fhadc the 
field, 
The f/agjent myrtle does furpafs; 



No flow'r fo gay, that doth not 
yield ■ 
To blaoming r;\fes gaudy dr'efs. 
To blooming rofes, &c. 



No ftar fo bright, that can be feen 
When Phccbiw' glories gild the 
skies j 
No nymph fo proud adorns the 
green, 
But yields to fair Neara's eyes. 
Bui -yields, .&c. 



TliVn'rousfwains no offerings bring 
To Cupid's altar, as before , 

To her they piay, to her they fing, 
And own in love no other Pow'r* 
And own, &c« 



Cupid, thine empire to regain, 

Upon this conqu'ror try thy dart* 

Oh ! touch, with pity for my pain# 
Neara's cold, difdainful heart. • 
Ncara's cold, &c- 



J Song 



6% The ^PttfeS Delight. 

A Song In the Judgment of Paris. Set by Mr. Arne. 



^&^=£f- 



Largo- 
33* 



forte 



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i 



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Na — ture fram'd thee fure for loving, Thus a dorn'd with ev'ry 



ae 



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Venus' felf thy form ap — proving, Looks £§ pleafure, 



with 



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Looks with pleafure on thy face, 



looks 



with 



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s. She'd furrender all her charms* 

Sappy nymph who ilia'l enfold fiee'd furrendtr, &c Love himfelf the Conqueft aiding, 

thee, Thou that matchlefs fair fhalt 

Circling in her yielding aims ; 3- g a ' n- 

Should bright Helen once behold Gentle fhepherd, if my pleading, "Then that matchlefs, &e« 

thee, Can from thee the Prize obtain, 

The Complaint. Set by Mr. Arne. 







Allegro ajfui- 



^^r#^[-^s^ia^gfe^ 



-» i 



The *©ttfeS Delight. 



65 



b~ 'srrz — *~ 



^^f&mm&P^m^M^w 



Beholy y fwect flowers atound, & all y-^-^y beauties y wear, yet 






@^^pri#g^lfeffte|^P 



fo love — -ly 



& 



none on the plain can be found So lov— ly 

j a — ♦— 



il ^ ^^ i^iieill 



lovely as Celia is fair, So love— ly as Celi — a is fa 



*fea 



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a 



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Ye v/ai — biers come raife your fwect tliroats, No long — er in fi — lence remai n, No 



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iissisipiisiiasis 



longer, in filence remain - 7 O ! lend a fend lover your notes To foften 






*-; 4 ?=«-r:i^i!^8r:p 



3 

to foftea to 



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ss 






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lliil 



fof — ten my Ce — lia's dif dain,To foften my Ceiia's dif— daitli 



^^B^^FE^^p^ j^j^-jj 



2. Fair Flora attends the foft tale, The bofom of Flora in May, 

And fweetens the borders along : The bofom, &c- 

Oft times in' yon flow 'ry vale,. And fweetens-, &c> Stillfiowning, pronounces my dooaaj 

-... I breathe- my clomplaints in a But Celia, whofe bi-eath might per- Regardlefs of all I can fay. 

fongj fiiuia Regaralefs, &c» 

Sweet; 



£4 The <S0\tU8 Delight. 

Sweet Nan of the Vale. Sung at the New Spring Gardens, 



i^^^lp^ig ^^^ 



In a fmall pleafant village, by nature compleat, Of a few honeft fliepherds the 



3±F 



^^-^Ff^—T— 1- 



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a 



quiet retreat, There liv'd a young lafs of fo love — ly a mein, as feldom at balls or at 



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courts can be feen 



The fweetdamask-rof< 



5£e 



The fweetdamask-rofe was full blown on her 



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cheek, The lil — ly difplay'd all its white on her neck ; The lads of the village all ftrove to af- 



US 



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fail, And call 'd her in raptures fweet Nan of the vale. 



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Firfl young Hodge fpoke his paffion 

'till quite out oi breath, 
Crying wounds J he cou'd hug her & 

kifs her to death ; 
And Dick with her beauty was Co 

much polfcfs'dj 
That he loathed his food and aban- 

don'd his re 11 : 
Siit file cou'd find nothing in theai 

m> en J ear, 



So fent them away with a flea in 

their ear, 
And faid no fuch boobies cou'd tell 

a love tale, 
Or bring to compliance fweet Nan 

*ȣ the vale. 



5 

Till young Roger the fmartcft of all 

the gay green, 
Who lately to London en » frolick 

had been, 



Came home much improv'd in his 

air and addrefs, 
And boldly attack'd her, not feas- 

ing fuccefs ; 
He faid Heav'n form'd fueh ripe 

li ps to be kif s'd, 
And piefs'd her fo clofely ihe cou'd 

not refift, 
And Ihew'd the dull clowns the 

right way to aflail, 
And brought to his willies fweet 

Nan of the vale. 



Thi 



The ^ttftS Delight. 

The Blufhing Rofe. Set by Mr. Howard. 



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33 



Obferve the fragrant blufhing rofe, Tho' in the humble vale it fpring ; 

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It fmells as fweet, as fair it blows, as in the gar den 



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of a king* 

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So foft con— tent as oft 



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found com plete in the low — ly cot as in the lof ty 



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feat, As in the lof . ty feat- 



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66 



The $$Uft8 Delight. 



The Highland Laffie. Set by Mr. Arne. 



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Lowland Maids go fpruce &fine, But oft they're vain and pert — ly faucy j So proud they ne— vet 




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can be kind, Like my good-humour'd High— land Laffie. Like my good-hu mour d 



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High— land Laffie. O ! my bonny bon— ny High- 



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-land Laffie, My hand— fome 

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charming Highland Laffie ; May ne ver care make thee lefs fair : But 



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bloom of youth ftill blefs my Laffie. 



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'Fore 



The $Hm,tt% Delight. 



67 



4 . Happy and blithe as one would wifil, O ! my bonny bonny, &c 

My rlutt'ring heart goes pitty- v 

'Fore any lafs in Burrow's town, patty. 5* 
Who makes her cheeks wi' patch- My flutt'ring heart, Sac 

es mottie, O ! my bonny bonny, &c Come, lovely Katie, come away, 

I'd take Ty Katie wi' one gown, * 7 We'll cheerful range the fWry 

Barefooted in her little Coatie. 4- Thy ^UeTttall gild each live- 

Barefooted, «e- ..,., 11, 1 j 

O ! my bonny bonny, &c Themountainscladwi'purplebloom long day, 

• ' ' ■ ' And berries ripe, invite my trea- And love and truth tor ever bed 

3. &»i , us ' 

Enamell'd flowers breathe perfume, And love, &c. 

Beneath the brier or birken bum, And court my love to rural plea- O ! my bonny bonny Highland 

Whene'er I court or kifs my fure- La ihe > 

beauty, And court, &c. My hearty, fmiling, &c 

To Zephyrus. The Muficfrom Mr. HowardV Mufette. 



fe^^P^g^ffl^P 



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Sportive Ze— phy — rus, fondly blow ing, breathing o dours through the 

m-3- -#- » • 



-ff 



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air ; blooming 



on groves be flow —ing, to Vaux hall my 




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ing ftray ing round her charms, Than when De— li a's fmiles a- 






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drefs me, figh ing, dy— — ing, in her arms. 



m±^^g$m s 




Nanny 



68 



tnl 



The ^ttf eS Delight. 



Nanny of the Hill. Set by Mr. Woroan. 



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Af—fift me 



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ev' — ry tuneful bard, O ! lend me all your skill ; 



In choifeft lays that 




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I may praife Dear Nanny of the Hill. Sweet Nanny, dear Nan — ny, Sweet Nan— ny of the 






£|s±ey=3 



Hill. 



SEE 



jM^ui^iT-qT-r-^^^-^^M^ 



How gay the glitt'ring beam of 
morn, 
That gilds the chryftal rill ; 
But far more bright than morning 
light, 
Shines Nanny of the Hill. 
Dear Nanny, fhines Nanny, 
Dear Nanny of the Hill* 



Sweet Nanny, blooms Nanny, 
Sweet Nanny of the Hill* 

4- 

Old Time arrefts his rapid flight, 
And keeps his motion ftill j 

Refolv'd to fpare a face fo fair 
As Nanny's of the Hill. 
Dear Nanny's, fweet Nanny's, 
Dear Nanny's of the Hill' 



The gayeft flow'er fo fair of late> 5 

The ev'ning damps will kill ; 

But ev'ry day more frefh and gay To form my charmer, nature has 
Blooms Nanny of the Hill- ' Exerted all her skill ; 



Wit, beauty, truth, and blooming 
youth, 
Deck Nanny of the Hill. 
Deck Nanny, fweet Nanny, 
Dear Nanny of the Hill' 

6. 

And now around the feaftive boaii 

The jovial bumpers fill j 
Each takes his glafs to my dear 
lafs, 

Sweet Nanny of the Hill. 

Dear Nanny, fweet Nanny, 

Dear Nanny of the HHU 

A 



The jgpttftS Delight. 

A favourite Hunting Song. For two Voices. 



6 9 






When Phoebus the tops of y hills does a--dorn, How fweetis the found of the e— cho-ing horn when f 



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1 - 3 



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ant — ling flag, is rouz'd by the found, E refting his ears nimbly fweeps o'crf- 



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ground, & thinks he has left us be-hind on the plain, But ftill we pur— — fue, and now come i a 



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view of the glorious Game. O! fee how a — gain he rears up his h. ad, & winged $ fear he re- 



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doubles his fpeed, But ah ! 'tis in vain, 'tis in vain if he • flies, y his eyes lofeyhuntfman his ears lofe f 



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Cries. But now his ftrength fails he heavily flies, & he pants,- pants, pants, pants, pants till <& 



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well-fcented Hounds furrounded he dies, dies, dies, dies, ton— ta-ron ton-ta-ron he dies, he dies, dies* 



^^^^fe ^g^dE^EaJg^^fe 



Ye 



70 The $&\xtt$ Delight. 

Ye Swains that are courting a Maid. Sung by Mifs Stevenson. 



riM^SijIlg^ffib^^^^j^i^i^ 



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Andante- 



^EEglEpEj ^gj ^g^i^ l PS^^jE^gjg 



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^EptE ^^^^E£E| 



«' — pr ~ «" 

Ye fwains that are courting a maid, Be 



33 



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■warn'd & inftru&ed by me, Tho' fmall experience I've had, I'll give you good counfei and free : 



atH 



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te 



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The "Women are changahle things, And 






feldom a moment the fame 5 



As time a va — ri-—- ety brings, Their 




claim. 



B»t 



The £$)ttteg Delight. 



71 



But he who in lore would fucceed, There's a feafon to conquer the To catch the occafion take care, 



And his miftrefs's favour obtain, 
Mull mind it, as fure as his creed, 
To make hay while the fun is 
fcrcne. 



fair, When 'tis gone, in vain you'll 

And that's when they're merry afTay. 

and gay - t When 'tis gone, &c 



On Tree-top'd Hill. Set by Mr. Festing. 



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On Tree-top'd Hill or turf— 



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Veft is feen : Be— fore the Sun has left the 



Let the frefil 






breathe- on me, Let the fiefli Morning breathe on me- 




a^Ht 



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S 33J-dJ-d^ =i=fa =?fe^ 



SE 



I 



Ta furze-blown heath or. pafture 

mead, 
Dp thou my happy footfteps lead ; 

Da thou, &c 
Then fhew me to^ pleafing ftream, 
Of which at night fo oft I dream. 

Of which at night, &c» 



At noon the mazy wood I'll tread; 



With autumn leaves and dry mofs 
fpread, 

With autumn, &c 
And cooling fruits for thee prepare, - 
For fure I think thou wilt be there. 

lor fure, &c« 



9 Till birds begin their evening fong, 
With thee the time fecms never 
long, 
Wi$hthee 3 &t* 



O let us fpeak our love that's paft, 
And count how long it has to lafts 
And county &c. 



I'll fay eternally, and thou 
Shalt only look as kind as now ; ; 

Shalt only look, ckc. 
I ask no more, for that affords, 
What is not in the force of words. 

What is not in the force of itioris- 



Rosalind* 



7i 



The S0UUS Delight. 

Rosalind. Set by Mr. Arne, 






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Come 



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Rofalind, oh .' come and fee What pleasures are in ftore for thee, The fields in all their 

• db « _« _',.'..i.jt; 



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au — ties wear, The trees their gay 1 



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31 



beauties wear- 
9 =fe 



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The joy — ful birds in 



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Bf!— «ry grove, Now war— ble out their fongs of love, Now warble out their fongs of love.For 



thee 



I 



The $$titt& Delight. 73 



thee they fing, and ro— fes bloom, And Col— lin thee in vites to come, in— v 



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■ tcs to come, And 



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Col lin thee in vites to come. 



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Come Rofalind, and Collin join i '77* JW>y, «£•<:. For Collin calls — then hafte »- 

My tender flocks and all are thine. Come fee a cottage and a fwain : way. 

If love and Rofalind be here Thou couldft my love nor gifts lor Calling &c- 
'Tis May and pleafure all the difdain. 

year* Leave all behind, nor longer ftay, 

Advice to Cloe. Set by Mr. Howard. 




i^^m^M^M^ 



See Cloe, how f newblownrofe blooms like thy beauteous Face, Youth does its rip'ning 



52 



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r^ r^ 



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i ^^gg^^pg^ii 




Charms difclbfe, & perfefts ev'ry Grace : Its Virgin Sweets per — fume the Air, and then its 

"*•— M» 9 n 1 * O a— M-rr^"- 



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Pride de— cays 5 fo will it be with thee, my Fair, $ paft thy youthful Days 



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No April can revive thy charms, arms 

No fun can light thy eyes ; When age begins to rife. 

Soft love will leave thofe fnowy Then Cloe let my paffion move 

K 



Thy pity for my pain ; 

Obey the voice of gentle love, 

Love and be lov'd again. 



The 



74 



The Elites Delight. 



The Advice. Set by Mr. Handel. 







Mortals wifely learn to meafure Life by the Ex— tent 



of 



Joy i Life is 




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Then be gay while you may, And your Hours in Mirth em 



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(thee, 



Never let a mifrrefs pain you, If love's fiercer flames /hould feize Friendfliip, wine and love united, 
Tho' file meets you withdifdain ; To fome gentle maid repair ; From all ills defend the mind ; 

Fly to wine, 'twill foon unchain you, She'll with foft endearments eafe By them guarded arid delighted, 
Cheer the heart, On her breaft, (thee. Happy ftate, 

And all fmart Lull'd to reft, Smile at fate, 

In a fweet oblivion drown. Eas'd of love and free from care. And leave forrows to the wind. 



The Reafonable Lover. Set by Mr. Arne. 




3I11III 




Vcnu* 



The ^ttfcg Delight. ns 



Ve— nus with Pallas's mind ; Let the girl that I love have but pru— dcnce in view, That 



i^E^^^^^^Hs 



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tho' ihe de — ceive I may ftill think her true- 



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Be her perfon not beauteous, but come— ly and clean, Let her 



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temper be cloudlefs and o — pen her mein : By fol ly, ill— — na ture nor 



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va— ni — ty led, Nor in— —debt— cd to paint, nor In—— debted to paint for white or for 




May her tongue, that dread wea- For prudes I defpife, and coquets I Go find out the fair that is form & 

pon in moft of the fex, detefl> on my plan, 

Be employ'd to delight us, and not May her humour the tafte of the And I'll love her for ever 1 

to perplex 5 company hit ; mean if I can» 

Let her not be too bold, nor frown Not affectedly wife, not too pert Imeatiy &e» 
at a jeft } with her wit. 



76 



The £&\lft£ Delight. 

Oh ! lovely Maid. Set by Mr. Arne. 



pjpigiS^^^feij 



t mm 



Arnorofa. 



Oh 



mB^i^^^^^B^^m^ u^^^ 



Ok 



^ ./-* -b 



fj^^^^^^^^g^^^^l 



love — ly maid how dea — r's thy power ! At once I love at once adore ; With wonder are my 



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te^m ^^^^^j^^^^ i 



thoughts pofTeft, While fbfteft love infpires my breaft, While fofteft love infpires my breaft. 



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^^a ^^^^ i^^g 



^^JJJJJ^fe^fe^Efe^lJj 



Yes, charming viftor, I am thine, 
Poor as it is, this heart of mine 
Was never in another's pow'r, 
Was never pierc'd by love before. 
Was tisver, &c. 



In thee I've treafur'd np my joy, 



- — — JT J J J r CI**"*-? 

Thou canft give blifs, or blifs de- Still would I love, love thee alone 
ftfoy -, Still mould, &o 



And thus I've bound myfelf to love 
While blifs or mifery can moveo - 

While blifs, &c. 

But like fome difcontented fliade, 
4' That wanders where it's beauty's 

O fliould I ne'er poffefs thy charms, Mournful I'd roam, with hollow 
Ne er meet my comfort in thy glare, 

arms ; p or ever exil'd from the fair. 
Were hopes or dear enjoyment f or ever, &c- 

gone, 



The Syrens Song to Ulysses. Set by Mr. Arne 




jiang to. xtano rorte 




liana Forte 



The 4$)ttfeS Delight. 

pj ^jgj^ gll^ipillp 

tee 



77 



-^ 



*» 



35 



P^ 



Hither fweet UlyfTes 






/5\ 



5 



hafte, Manly beau — t, come and tafte What the pow'rs of blifs un — fold, Joys too mighty 



a±a±S=^ ^E^^ ^ 



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to be told, Joys too migh — ty to be told : 



Tafte %t 



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ex— -tafies they give, Dying raptures tafte and live : Tafte what ex — ta — lies they give, dy — ing 



^^M^ ^g^^EJEeEJa 






raptures tafte and live, tafte, tafte, tafte and live, Dy — ing rap — tures tafte and 



^m^^^^^m 



^=Mfefei^ 




feSs 



live. 



a 



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Lavifti nature flieds her ftore, 
Thrilling Joys, unfelt before, 
Sweetly langui filing defires, 
Fierce delights and am'rous fires j 

Fierce, delights, &c. 
Sweeteft, doft thou yet delay ? 
Manly beauty come way. 

' S<weeteft i &c. 



Lift not when the froward chide. 
Sons of pedantry and pride, 
Snarlers, to wfcofe feeble fenfe 
April funfhine is offence : 

April fein/hinc, Sec- 
Envious age alone decries 
Pleafurcs which from love atife» 

Envious are, eke- 



Come, in pleafure's balmy bowl, 
Slake the thirfting of thy foul, 
'Till thy raptur'd pow'rs are faint ", 
Joys too exquifite to paint : 

Joys too extjnijite, &c 
Sweeteft, doft thou yet delay ? 
Manly beauty come away» 

Sweeteft, &c. 

The 



78 



The £pttfeS Delight. 

The Highland Laddie. Set by Sigr. Pasquali s 




Andante^ 



ggggllig 



m 



~0 ® — ,-«— — ft-p-a-- — -i- — 



J .SJJ"^- 



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Hr" — 



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The Lowland lads think 



as 



5EB 3 



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they are fine, But O they're vain &: i dly gaudy, How much unlike the manly looks } And 



5 



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BiEkB 



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graceful mein of my Highland Laddie .' O my bonny bonny Highland Laddie, My handfome charming 



P^^ggEppi 



^w^ 




'g^^ ^^^g ^^sj^m 



Highland Laddie, May hcav'ns itill guard and love reward The Lowland Lais and Highland 



5v =. |_ J I _ 



m^=4=£ &i 




tii^mm 



$ 



Laddie. 



SEE 



^S^^^ 



If T was free at will to chufe The bra we ft beau inborrows-town, O'er benty hill with him I'll run, 

To he y vi calthieft lawland lady, In a' his airs, with art made ready, And leave my law land kin and 

I'd take young Donald without Compar'd to him, he's but a dady ; 

trews, clown; Frae winter's cauld,&fummer's fun» 

With bonnet blue, and belted He's finer far in's tartan plaidy. He'll fcreen me with his highland 

plaidy. my bonny, &o plaidy. 

my bonny, &C my bonny, &c» 



The <g)ufC$ Delight. 



19 



A painted room, and filken bed, 
May pleafe a lawland laird and 
lady ; 
But I can kifs, and be as glad 
Bebind abufliin's highland plaid- 
dy. 
my bonny, &c« 



6. 7. 

Few compliments between us pafs, Nae greater joy I'll e'er pretend, 
I ca' him my dear highland lad- Than that his love prove true & 



die, 

And he ca's me his lawland lafs, 
Syne rows me in beneath his 
plaid y. 
my bonny, &o 



fteady, 

Like mine to him, which ne'er fliall 
end, 
While heaven preferves my high- 
land laddie. 

my bonny, &c. 



The Happy Pair. Sung by Mr. Lowe. 




tefelfc£|^ 



£=* 



i ^^^l 




B^^sB^^ ^fe F g feM^ 



How bleft has my time been, ^ days have I known, Since wedlock's fort bondage made Polly my own: So 



^ 



^gjsEElfciES^ ^si^^^^pp^Eg^ 



/"^ "^ 



g^^ft^lpJi^ ^E^ §5^Ei 



joyful my heart is, fo ea — fy my chain, y freedom is taftelefs& rov — ing a pain,That freedom is 



S33Eg 








taftelefs and roving a pain. 



£zE: 



Vt. 



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A 



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PE 



Thro' walks grown with woodbines 
as often we ftray, 

Around us our boys and girls frolick 
and play ; 

How plcafing the fport is, the wan- 
ton ones fee, 

And borrow their looks from my 
JefTy and me. 
And borrow, etc. 



To try her fweet temper, oft-times 
am I fecrt 



In revels all day with the nymphs 
on the green ; 

Tho" painful my abfence, my doubts 
flie beguiles, 

And meets me at night with com- 
pliance and fmiles* 
And mats me, &c. 



"What tho' on her cheeks the rofe 

lofes its hue, 
Her eafe and good humour bloom 

all the year thro' ; 
Time, frill as it flies, brings encicafe 

to her truth, 



And gives to her mind what he 
fteals from her youth. 
And gives to. her, &c. 



Ye fliepherds fo gay, who make 

love to enfnare, 
And cheat with faifc vows the too 

credulous fair ; 
In fearch of true pleafuVes, how 

vainly you roam ! 
To hold it for life, you muft Sad it 

at home. 
To hold it for life, &c 



The 



8o 



The flJ9ttft$ Delight. 

The Garland. Set by Mr. Weideman. 



The pride of ev' — ry grove I chofc, The vi'let fwcet & lil ly fair j The dappl'd 



«^S 



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pink & blufhing rufc, To deck my charming Clo- 



c's Hair : 



^ m^m^^^0^^m 



33 



fl 



f*\ /"\ ^ O /^ •">. /"\ 



At morn the nymph vouchfafed to place up on her 



^> 



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ferte^a=^ 



M 

brow the various wreath ; The 



£g 




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flowers lefs blooming than her face, The fcent lefs fra — grant than her brea- 



a 



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>S /^l O /"N A O ^ , 



-th, The fcent lefs fragrant tha- 



-n her breath. 



SEE 



m^^^^^^^^S^^E 



The flowers fliewore along the day, 
And ev'ry nymph and fliepherd 
faid, 
That in her hair they look 1 d more 

g-*y, 

Than glowing in their native bed. 
Undreft at ev'ning,\vhen flie found, 
Their odours loft, their colour 
part ; 
She ehang'd her look, and on the 
ground 
Her garland and her eye flic caft. 
Jier Garland) &c. 



That eye dropt fenfe, diftin£t and 
clear, 
As any mufe's tongue cou'd fpeakj 



When from its lid, a pearly tear, 
Ran trickling down her beauteous 
cheek. 
DifTembling what I knew too well, 
My love, my life, faid I, ex- 
plain, 
This change of humour, prithee tell 
That falling tear— what docs it 
mean "i 



She %h'd, flie fmil'd, and to the 
flow 'is 
Pointing, the lovely moralift 
faid, 
See ! friend, in fome few fleeting 
hours, 
See, yonder, what a change is 
made' 



Ah me ! the blooming pride of may, 

And that of beauty are but one S 

At morn both flourifli bright and 

Both fade at evening, pale, and 
gone. 



At dawn, poor Stella dane'd and 
fung ; 
The am'rous youths around her 
bow'd : 
At night her fatal knell was rung ; 
I faw, and kifs'd her in her 
flirowd. 
Such as flic is, who dy'd to day: 

Such I, alas! may be to morrow. 
Go Damon, bid thy mufe difjlay 
The juftice of thy Chloe's forrow. 



Set 



The ®$\liCS Delight. 

Set by Mr. Arne. Sung by Mr. Lowe, at Vauxhall. 



81 





fS^N*^ 



Bl^^sfe^PPp^ 



9S^pte 



- • — P 1— 



When your beau — ty ap — pears In its gra — ces 



u 



./■ 



and airs, All bright as an angel juft dropt from the skies : At dill — ance I 



m^m^mm 



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«F 









gaze, And am aw'd by my fears * So ftrangely, fo ftrangely you daz. — zle my Eyes, So 



ferf=^ 



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^ 



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5fe 



^ 



1 



0.-^\/-N. 



f^^g^asslissu 



ftrangely fo ftrangely you daz — zle my eyes* 



im^m^m^m^m 



%- Then I know you're a woman, a And thus, might I gratify both, 

woman again. I would do ; 

But when, without art, your kind Then Lknow^ &o An angel appear to each lover be- 

thoughts you impait, fide, ■ 

When your love runs in bluflies 3« But ftili be a woman, a woman to 

thro' every vein ; you- 

When it darts from your eyes, when There's a pafllon and pride in OUI Jinl fiiU ) &c- 
it pants in your heart, fcx, file replied, 

7ty 



The S0UUS Delight. 

The Carelefs Toper. Sung by Mr. Lowe. 



(E^ 






:fcti 



ZZ: 



as 



~o 



m 



Fly Care to the Winds thus I blow thee a way, I'll drown thee in Wine if thou 



j33seebe^t- 




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dares for to ftay : With Bumpers of Cla— ret my Spi rits I'll raife, I'll 




gjjiipi 



a. And makes the nymph kind who Two bottles of claret will make us 

before was too wife« agree ; 

God Bacchus this moment adopts Will open your eyes to fee Phillis's 

me his fon, 3. charms, 

And, infpir'd, my breaft glows with And, her coynefs wafli'd down 5 

tranfports unknown ; Then dull fober mortals, be happy ilie'll fly to your arms- 
The fparkling liquor new vigour as me ; 
fupplies, 

The Bonny Broom. Set by Mr. Arne. 



1 A « 



^^^^g££^^rti&te E £^ E H 



/-N./"V, 



/""\ **\ /-n 



r\ 



1®^T1^-Z- 



How blithe was I each morn to fee, My 






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a* 






fwain come o 1 er the hill 



He leapt the brook and flew to me, I met him 



^SJ^ 



m 



m 



s— + 



with 



The i$)ttfCS> Delight. 



8? 



— V- — J— -J — .p^Earo-| 1- 



O • ^ 



-fniSFf^-f-fq 




ith good will- I ne — ver wanted ewe nor lamb, While his flocks near me 



^ £ =3=fft»fT ffff = Ff 



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r> /^ 



0\ 



r^ r\ 



^EE^^fe% | ^g^i|^pi^ 



lay j He ga — ther'd in my Iheep at night, And chear'd me all the 



J- 



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W 



y bonny broom, Where loft was 



m 



day. O f broom, y bonny bonny broom, Where loft was my re pofe ; I 



^3^f^E£ 



'_*— JL 



A 



fe^^^^^^Eife^^^ 



A 



wifli I was with my dear fwain, With his pipe and my ewes. 

t ft ^ , |»» 




He tun'd his pipe and reed fae 
fweet, 
The birds ftood lift'ning by ; 
The fleecy Iheep ftood ftill, and 
gas'd, 
Charm'd with his melody. 
"While thus we fpent our time by 
turns, 
Betwixt our flocks and play ; 
I envy'd not the faiiefl dame, 



Tho' e'er fo rich and gay. 

the broom, the bonny bonny broom, 
Where tofi was my repofe j 

1 wi/h I was with my dear fwain^ 

With his pipe and my ewes> 



He did oblige me ev'ry hour j 

Could I but faithful he ? 
He ftole my heart, could I te- 
fufe 



Whatc'cr he ask'd of me ? 
Hard fate, that I muft banifh'i 
be, 

Gang heavily and mourn, 
Becaufe I lov'd the kindeft fwain 

That ever yet was born. 

the broom, the bonny bonny broom, 
Where loft was my repofe ; 

1 wifh I was with -my dear fwain, 
With his pipe and my ewes* 



Jockey* 



84 The ^ttfeg Delight. 

Jockey. Sung by Mifs Stevenson, at Vauxhall-Gardens. 










ling of my lover all night and all day, He's e — ver good-natur'd and fro — lie and 

Jp—$—0 . *_ 




gay ; His voice is as fweet as the nightingale's lay, And well on his 



fca §I 



. ~~b — r 
_J3L« i_5|Lr-^_^- 

bagpipe my 




iliepherd can play : And a bon— ny young lad is my Jockey, And a bon— — ny young 




"=S = 



He fays that he loves me I'm witty 

and fair, 
And praifes my eyes, my lips and 

my hair, 
Rofe violet nor lilly with me can 

compare, 
If this be to flatter, 'tis petty I 

fwcar ; 
And a bonny, &o 



He kneel'd at my feet and with 

many a figh, 
He cry'd O ! my dear will you never 

comply, 
If you mean to deftroy me, why do 

it I'll die, 
I trembled all over & anfwcr'd not I« 
And a bonny, &c« 



Around the tall may-pole he dances 

fo neat, 
And fonnets of love the dear boy 

can repeat, 
He's conftant,he's valiant, he's wife 

and difcreet, 
His looks are fo kind and his kiffes 

fo fweet -, ' 
And a bonny, &c« 

At 



The ^ttfcSi Delight. 



Zt 



S My heart is juft ready to burft from Come, come my dear fhepheid I 
my breaft ; wait but for you, 
At eve when the Sun feeks repofe Such a bonny, &c« We live for each other, both con- 
in the weft, ftant and true, 
And may's tuneful choiriftsall skim 6 And tafte the foft raptures no mo- 

to their neft, narch e'er knew 

When I meet on the green, the But fee how the meadows are moi- And a bonny, &c. 
dear boy I love beft ften'd with dew, 

The Nut-brown Maid. Set by Mr. Howard. 



Allegro, ma non troppd' 






'Twas in y bloom of may # odours breathe around, ,# nynv are blithe & ga y, & 



^g^pilisig^i^^p§i 



dllp^pi^^^^g 



B^EteHS^EE 



- J«~ F»-j-^ 



all ^ mirth abound j That happily I ftray'd to view my fleecy care, where I beheld a maid No 



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mortal e'er fo fair, no mortal e'er fo fair. 



w&m^&fm&gmm 




A fliepherd's daughter flic, 

Who from a neighb'ring town, 
My rival flocks to fee 

Had now forfook her own 5 
She wore upon her head 

A bonnet made of ftiaw, 
Which fuch a face did fhade 

As Phoebus never faw« 

As JBhabitSj &c« 



Her locks of nut-brown hue 
A jound-ear'd coif concsal'dj 



Which to my pleafing view 

A fporting breeze reveal'd. 
Beneath her ilender waift 

A fcrip embroider'd hung 5 
The lute her fingers grae'd. 

Accompanied with a fong. 

Accompanied, &o 



So foft, yet fweet a note, 
Cuzzoni might regale, 

Or Philomela's throat, 

That warbles thro' the vale. 

Charm'd with her tuneful ftrain, 
The fwains admiring gaze. 



And herds upon the plain 
Awhile forget to graze. 
Awhile, &c- 



Pleas'd with her charming fosg, 

Her winning fliape and air, 
Into her arms I fprung, 

And caught the yielding fail : 
The yielding fair obey'd 

The facred laws of love ; 
That pow'r which ev'ry maid 

Muft late or early prove. 

Mnji late, &e- 



Jenny 



26 



The j@afe£ Delight. 




Jenny of the Green. Sung by Mr. Lowe. 



Allegro trjf'ti' 

-ir&r— — p^=zEzfa^-,»-iL_ J__ i 



A 





:S: O O 



/"N /^"V 



While o— others ftrip the new-flall'n fnow, And fteal its 



s 



-Q- 



m 



PiNl «fe. 



^igEpg|?gg&^^gg 



from the rofe, To deck their fancy's queeea ; 



Fain 




f^^g^^ ^^^^Epj^^l 



■would I fing but words are faint, All mufic's pow'r too weak to paint My Jenny of the 



^^^ffi 



^f 



$* 




Beneath this elm, belide this ftream, 
How oft I've tun'd the favourite 
theme, 
And told my tale unfeen $ 
While, faithful in the lover's caufc, 
The winds wou'd murmur foft ap- 
plaufe 
To Jenny of the Green. 
To Jenny y &c« 



With joy my foul reviews the day, 
When deckt in all the pride of May 

She hail'd the fylvan fcene j 
Then ev'ry nymph that hop'd to 
plcafe, 



Firfl: flrove to catch the grace and 
eafe 
Of Jenny of the Green. 
Of Jenny, Sec- 



Then deaf to ev'ry rival's figh, 
On me fhe caft her partial eye, , 

Nor fcorn'd my humble mein 5 
The fragrant myrtle wreath I wear, 
That day adorn 'd the lovey hair 

Of Jenny of the Green. 

Of Jenny, &c« 



Thro' all the fairy land of love, 



I'll feek my pretty wand'ring dove 
The pride of gay fifteen ; 

Tho' now flie treads fome dilla-at 
plain, 

Tho far apart I'll meet again 
My Jenny of the Green. 
My. Jenny, &c 

6. 

( night 
But thou, old Time, 'til that bleft 
That glads my eyes with that dear 
fight, 
Melt down the hours between ; 
And when we meet the lofs repay, 
Onloit'ring wing prolong my ftay 
With Jenny of the Green. 
With Jenny, &ۥ 

Female 



The 4J)ttfcS Delight. 

Female Fortitude. Set by Mr. Russel. 



87 



|^^^^^^^^3^^^j^ 



3& 



SS:S 




8 -■— f - 



la ■ 'Vifll on the fa ir, Could lavifli on the fair : For her each youth did 



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r> 



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— i/-— — ■ f&, — 1 — © — 



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/-> /-\ 



/~\ S~\ 



5t 



-r— 



H^R 



«— d : 



languifli, And told their am' — rous fmart ; What tho' file mock'd their anguifli, Yet Strephon 




won her heart, Yet Stre — phon won her heart. 



^^^^ 



3^ 



w 



3 Tl 



AzU 




The ftripling fwore for ever 

He'd true and conftant prove 5 
He was a youth fo clever 

That file repaid his love : 

Thatjhe repaid, &c. 
But Death, their joys refentingj 

Of Strephon made a prize, 
Oh I powers unrelenting 

To clofe the fhepherd's eyes* 

3* c!vji s Sac 



Now fobbing, pining, crying, 

The beauteous widow ran ■-, 
And vovv'd, in endlefs fighing 

To weep her conftant man« 

To weepy &c- 
But Corydon, the rover 

To court her did prepare, 
And thought another lover 

Might not difpieafe the fair* 

Might not, &c» 



With boldnefs he advances, 
The fair his love denies, 

Till inefiftlefs glances 

Shot flafhing from his eyes 5 
Shot fiafliing, £«• 

With oaths and vows afTaihng 
He wipes each tear-fwoln cheek 5 

Untill his love prevailing, 
He weds her in a week» 
Me weds her, &e° _„ 

The 



88 



The $0ttU$ Delight. 

The Lafs of the Mill. Set by Mr. Festing. Sung by Mr. Beard., 




^^IfgB 



Who lias 



llilllllll 



-&■ 



±=: 






e'er been at Badlock muft needs know y mill, At the Gga of the horfe at the foot of the hill 5 

t , , . m 



^^^mm 



3 



?=yv 



=^ 



I 



V=¥ 



v= 



=^msm0tm^ 



-«— •— 



iEbt: 



Where y grave and the gay, the clown and the beau, With- out all dif- 



QI 



:££ 



i 



-I— r- 



^ &^^f=k%^Ef E0£kffi&$ 



SI 



tinfti — on pro mifcuouf— ly go- 

3E 



Where the grave and y gay, the 



~fi— ft— j*^ 



1 



^EEE 



j- C- 



ra^ 



-»'-« 



l^^^ p^g^^pg^i 



clown and the beau, Without all diftin&ion pro — mifcuoufly go. 



EO 



E£S 



P^ ^pjggjggjggpi 



This man of the Mill has a daugh- 
ter fo fair, 

With fo pleafing a fhape, and fo 
winning an air, 

That once on the ever-green bank 
as Ihe ltood 

I'd fwore flic was Venus juft fprung 
from the flood. 

That once en the ever-zieen, &c« 



But looking again I perceiv'd my 
saiftake, 



For Venus, tho' fair, has the look 

of a rake ; 
While nothing but virtue and mo- 

defty fill 
The more beautiful looks of the 

Lafs of the Mill. 
While nothing, Sec- 



Prometheus ftole fire, as the poets 

all fay, 
To enliven thatmafs which he mo- 

dell'd of clay ; 
Had Polly been with him the beams 

of her eyes 



Had fav'd him the trouble of rob- 
bing the skies* 
Had Folly been with him, &c« 



Since firft I beheld this dear Lafs 

of the Mill, 
I can ne'er be at quiet, but da 

what I will, 
All the day and all night I figh and 

think ftill 
I ihall die if I have not this Lafs 

of the Mill- 
All the iaj, &o 



The 



The <30tttt$ Deligh t. 

The Nonpareil. Set by Dr. Boyce. 




out of fafhion, can bluflt and be fin cere, I'd toaft her in a bumper if 







all the belles were here : What tho' no diamonds fparkle a — bout her neck or wafte, With 




— c'd, With ev'ry ilii — ning vir ■ tue the lovely maid is grac'd. 






l| S^^ 



?-^- p 



^ 



2fcfc 



HU 



Nor envies them their conquefts, The Graces all poffeffing, 



In modeft, plain apparel, 
No patches, paint or airsj 

In debt alone to nature, 
An angel file appears : 

From gay coquets high finifii'd 
My Cloc takes no rules. 



The hearts of all the fools 
Nor envies them, &o 



Who wins her muft have merit. 
Such merit as her own ; 



Yet knows not ihe has one : 
Then grant me, gracious heav'n, 

The gifts you moft approve, 
And Cloe, charming Cloe .' 

Will blefs me with her love. 

And Cloe, &c- 



M 



Jockey 



9© The <$$uit$ Delight. 

Jockey and Jenny. A Dialogue fung by Mr. Lowe and Mifs Falkner. 




g^gg§!^tf^^is 



aE 



=5=* 




■^ mm*F ^ 




*~% ~\ -N 



111111 



Stem Winter has left us, the trees are in bloom, And cowllips and 



:=rf=F^ 



xj 



tH-e 



5£ 



PASSES 




igg^^E pg^^ 



iLrf 



V»'— lets the mea— dows per— fume ; While kids are dif — porting and birds fill the 



'-CT- 



--a 



j ^fe^^B^l 



£\£> ^ 



(i ^^^^^te^fe^^^a 



fpray, I wait but for Jockey to hail the new May. I wait but for Jockey to 



fegil^gagsfel^^ 






hail the new May. 



: i=3=<=© 



Jockey. Among the young lil- 

lics,my Jenny, I've ftray'd, 
Pinks, uazies, and woodbines I bring 

to my maid 5 
Here's thyme fweetly fmelling, and 

lavender gay, 
A pofy to form for my queen of the 

May. 



Jenny. Ah ! Jockey, I fear you 

intend to beguile ; 
When feated with Molly laft night 

on a ftile, 
You fwore that you'd love her for 

ever and aye, 
Forgetting poor Jenny, your queen 

of the May. 
Facetting poor Jenny, &c« 



Jockey- Young Willy is hand- 

fome in shepherd's green drefs, 
He gave you thofe ribbands that 

hang at your breaft, 
Befides three fweet kiffes upon the 

new hay, 
Was that done like Jenny, my 

queen of the May ? 
Was that done like Jenry t &c« 

Jehht 



The fl^itf tS Delight. 



91 



e Your name is for ever the theme of That Jenny alone yon've crown'd 

I myfong; queen of the May. 

Jekhy. This garland of rofes no From the dews of pale eve to the That Jenny alone, &c 

longer I prize, dawning of day, 

Since Jockey falfehearted, his paf- I fing but of Jenny, my queen of «• 

lion denies ; *he May- 

Ye flowers fo blooming, this inftant I fing but of Jenny, &c Jockey. Of ev ry degree, ye 

* " ° jo* young lovers, draw near, 

For Je'nny-'s no longer the queen of 7 - A ™ d a11 ful F cioa ' vhttte ' a ™* 

the May. a ^ eal 5 .- 

For Jenny's no longer, Sec Je^y. Again balmy comfort Believe not your eyes, if your peace 

J with tranfport I view, they'd betray, 

,;. My fears are all vanifli'd, fince Then come, my dear Jenny, and 

Jockey is true ; hail the new May. 

Jockey. Believe me dear maiden, Then to our With fliepherds the then come, my dear> &c 
your lover you wrong, news I'll convey, 

The Shepherd's Invitation. Set by Mr. Lampe. 

Andantino. 

The new-flown birds, the fliepherds fing, and welcome in the may; Come Pafto— rella 





fe^^^gEp^JEfeiE^ 



gg^^jg ^^glfe 



now the fpring makes cv' ry landfcape gay : Wide fpreadirig trees their lea — fy fliade o'er 



feE^^ pfeN^^ lfe^fel^^ 



/*> 




: ^mM^^ mm ^^^^ 



half the plain extend, Or in reflecting fountains play 'd f quiv'ring branches be 



nd, their 



i^^^yiEE&fefeM^^^fe^ 



§ ^=&iS£gk££^B§^^l 



quiv'ring branches bend. Or in , reflect — ing fountains play'd, their quiv'ring branches bend. 



lli^^^^s 



^a 



When thy dear flock filail fport For thee a firftling lambkin fair 
and play, I keep within the fold : 

And intermix with mine. If milk-white doves acceptance 

And intermix, &c. meet, 

Or tender lambkin pleafe, 
3* My fpotlefs heart without deceit 

Be offer'd up with thefe. 
Ihen ihall I pais the gladfome For thee, of doves a milk-white Be offer'd, &c. 
day pair 

Warm in thy beauty's fiiine„ fa fi&ea bands I hold 5 

Damon 



Come tafte the feafon in it's prime, 
And blefs the rifing year ; 

Oh ! how my foul grows fick of 
time, 
'Till thou, my love, appear : 



yz 



The <S&tttt8 Delight. 



Damon and Phillis. A Dialogue. Set by Mr. Arne. 




Phillis. True Damon, I promis'd, Damon. When Phillis grew coy, 

I know it — what then ? when fhe left me forlorn, 

My mind has fince alter'd how And was fighing to Collin beneath 

faithlefs are men .' ' ■ the green thorn ; 

You vow'd to be conftant, and yet Mad, jealous and fietting, pray who 

t'other day was to blame, 

Who fwore that young Lucy was If with Lucy I ftrove to make 

fweet as the May ! Phillis the fame ? 

Sweet, fweet, was fweet as the Strove, ftrove to make Phillis 

May .' the fame. 



Phillis. Like the bee that goes 

roving to rifle the fpting, 
You pip'd to each damfel, to me 

you would fing ', 
I lik'd the fweet lay, for I thought 

it fincere, 
But why does Paftora fo oft drop 

the tear ? 
Why, why. why fo oft drop the 

tear? 

Damok 



27*? <puf eg Delight. 



95 



s . This, this was my pride ; then is How weak the thin fnare that the 
Phillis unkind ? foul w° uld belie ! 

DamoK- From my heart let me Then, then, then is Phillis un- Hence, hence with fufpicion away 

tell thee, I proudly atfay'd kind ? from the grove, 

To conquer each beautiful, infolent , And prove at the church that truth 

maid ■ waits upon love- 

The garlands they wreath'dat thy Phillis. How frail the difguife a Prove, prove that truth waits up- 

fcet are reiign'd, fond lover would try ! on love. 



The DUETTO. 



p^^^^^^^^^m 



Hence, hence $ fuf— picion, a— way from $ grove, And prove at y church that truth waits upon 



i^^^^mi 



&=dz 






Hence, hence $ fuf— picion a— way from f grove, And prove at the church y truth waits upon 



s^^mim 



^^m 



*~*S /~N 



r\ rs 



3: 



^^^^^SSil 



love, Hence hence ^ fuf— picion away from the grovc,And prove at y church truth waits up— on 



pl^s^is^psffi 



^j^-J^^^-" - ~ ~~*-*r-& ~~«" -a- 

love. Hence hence with fuf — picion a — way from the grovc,And prove at y church truth waits up — on 

9E5EE ^^^^^E^^E^Ifzg^^l^^S 

J — !_! jl— '-l-Titmwniiin^ri J ' — ! — \ ! ' 



dfesii^ 



m: 




love. Prove, prove truth waits upon love. 



^g2fe=^^g 



love. Prove, prove truth waits upon love. 
-Q-an-]*-!*- 



"!f" m * ' Q 



P^^ P^^^gE^g 



^m 



Tfo 



94 



f-j 






TZtf <$)tif eg Deligh t. 

7fo Sequel to, Who'll buy a Heart. Set by Mr. Stanley. 



=^pf ::: 



Rerit. As in a penfive mood Myrtilla fat refolving on f will of fate, A fprightly 

11 ? ' i ; 



9±n=o 



0S 



-e- 



^: 



:a; 



— fY 



=3K 



■SE3t±jf^±dJ=35=3d±: 



1*= 



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youth devoid of care advanc'd and thus addrefs'd the fair. 




^e=Hd=g3s l ^«^g^[iEF^g3=fe : E3 




j ^ybsmsj 



Se±5E 



aonat 



gem was up for fale, That fuch a gem was up for fale j With 



=8=. 






( fj-^gjL^bi 



E^^^ ^^P^ ppg 



tranf ports I re ceiv'd the tale> That fuch a gem was up for fale. 



S 



£=g 



fcj^tFfc«r|±; 



3!EEiSiEEJd^N= j=^El 



The <S$uft$ Delight. 



9S 



BE 



Pfe 






^^ b^^EsBH 



Could I command the ftar ' j r y train, For 



^^bg^ ^ ^a=^ ^^g 



'^^ m^^MM^^m M^ 



thee I'd give it back again} And if I could, to make thee pine, The 



CT Sj 




u - n i verfe ihould all be thine, The u niverfe fliould 

■ ■ ■■■■■■ ' .1 w <» — 2U — ■*? — w — »~ ' -■■anal — : 



"•y-^T* 1 : 



^3^^ 




I3_9 



Pi 






^&=D 



M 






all be thine : And if I could, to make th ee mine, The u— — ni — verfe ihould 



a^=g£|gjig^g 




pssa^=fe = j=^a;a 



m 



Fold. 



Go 



9<5 



The <$)ttf eg Delight. 



^^^^ ^ a^^ ^^a^ 



Go hence the maid with foft nefs cries, Me tit the beft de- 



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1 



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ferves the prize, Merit the beft de ferv.es the 



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The tale you've heard was falfe r- ly told, 



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Myrtilla's heart fliall he'er be fold j The tale you've heard was falfe ly 



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told, Myrtilla's heart fhall ne'er be fold, Myrtilla's 



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heart fliall ne'er be fold- 



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The $$ntt8 Delight. 

Set by Mr. WoRGAN. Sung by Mifs BuRCHEL. 

r 



97 







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Young Cel — lin was the bon— nieft fwain That 



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pip'd up on the plain, Or danc'd up — on the lee : 



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wan — ton kid, in game — fome bound, That fro — licks o'er the 




ground, Was not fo blithe as he* 



as 



fe 



fee 



Beneath the oak in yonder dale, 
You'd think you heard the nightin- 
gale, 
"Whene'er he rais'd his voice ; 
But ah ! the youth was all deceit, 
His vows, his oaths, were all a 
cheat, 
And choice fuceeeded choice* 



The maidens fung in willow groves 
Of Collin's falfe and perjur'd loves* 

Here Jenny told her woes : 
And Moggy's tears encreas'd the 

brook, 
Whofe cheeks like dying lillies look 

That once eut-bluih'd tke zofe» 



N 



Unhappy fair ! my words believe, 
So fhall no fwain your hopes de- 
ceive, 
And leave you to defpair j 
E'er he difclofe his fickle mind, 
Change firft yourfelves, for ah ? 
you'll find 
Falfe Collins ev'ry where* 



DlONE. 



p8 The $&uit8 Delight. 

Dione. A Paftoral. Set by Mr. Arne. 




^mmm^^^^ ®^ 



o-ne haplefs maid, AH wan $ love and piningcare,Saught out a fecret fhade : How wretched ah ! & 




chang'd am I, unhap— py maid faid fte, No fcene is pleafing to my view, No 



SE^ a^fe 



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flow'-t is lw«et to me, No flow'i is fweet to me 




So many vows could Collin make' 

To me, ah .' faithlefs fwain ; 
And yet thofe plighted vows now 
break, 

And le.',re me to complain ! 
Why did I rafhly feek his arms, 

And, fond, his tale believe ? 
Alas ! I yielded all my charms, 

Nor thought he could deceive* 

Nor thought) Sec 



Yet why of rofes fuch a ftore, 

And lillies in my face, 
Since Lucy now can pleafe you 
more, 
And claims your fond embrace ! 
My brighteft charms I'd willing 
give, 
Refign my rofy hue ; 
Content with Lucy's charms I'd 
live 
A rural rnaid for you. 
A rural) &c« 



But Collin's deaf while I upbraid, 

Nor heeds, tho' I complain ; 
Thinks not that I'm the injur'd 
maid, 
And he the faithlefs fwain : 
Yet know, falfe man, Dione's 
made, 
T.o fright you fliall appear 
And when you climb the marriage- 
bed 
Dione will be there» 
Dkite t &c« 



The 



The ^tifcg Delight. 

The Kettlebender. 



99 



fl fegEggE^ 



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All you who are or fair or witty, Come and liften to my ditty ; My 



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HE 



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j- — s — » - ; »-« — ' — s — =— • 



mufe fhall fing, if you'll attend her, Of that fame thing call'd the Ket — tlehen — der. 




The ladies take it all their heads in 
That it's the univerfal med'cine 
For old or young or weak or ten* 

der, 
All find eafe by the Kettlebender« 
rare Kettlebender, &c 



Nay fome, who matters fain wou'd 
glofs over, 

•Say 'tis the ftone of great philofo- 
pher ; 

For hardeft hearts it foft will ren- 
der, 

'Tranfmuted by tbe Kettlebender« 
rare Kettlebender, &c. 



Pray what d'ye think made Portf- 

mouth's dutchefs, 
Who, er fame lies s a noafuck was. 



Stick fo clofe to tbe Faith's De- 
fender ? 

What, but the love for his Kettle- 
bender- 
rare Kettlebender, &c« 



I'm fure if you have learn'd but 
any way, 

Yob muft have tead of madam Da- 
nae, 

That bolts nor bars cou'd e'er de- 
fend her, 

Or keep her fafe from the Ksttle- 
bender* 
rare Kettlebender, &e. 



Europa's cafe you've heard, I'm fa- 

tisfy'd, 
How, fearlefs, on the bull flie fat 

aftride ; 
Nor wavesj nor rocks, her flight 



could binder, 
She ftuck fo clofe to the Kettle- 
bender. 
rare Kettlebender, &c« 



It went fo bard too with poor Le» 
da, 

Who was afraid to die a maid-a, 
That to a fwan file did furrender, 
Rather than want a Kettlebender* 
rare Kettlebender, &c 



3. 



I muft name Proferplne to you too, 
Who ravifti'd was, they fay, by 

Pluto ; 
Was flie fo ?— the devil mend ber- 
She went to hell &r the Kettle- 
bender. 
rare Kettlebender, &c 



Love's 



IOO 



The jfl^ttfeg Delight. 

Love's Bacchanal. Set by Mr. Vincent. 



JS^^gB^^fe^^ 






tt 



Strephon why that clou- dy forehead, Why fo vain ly croft thofe arms? Silly fwain that 



afpeft horrid Rather frigh— -- tens her than charms : roufe y dull & droop ing fpirit, throw away thy 



— L — _J — ®. 



a 



— — — ^— -' \J~ 



myrtle wreath; Bumpers large of ge n'rous claret, Makes thee love and raptures Breathe. 



dtk£rpd!tz3SEtt. 



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33 



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Sacrifice this juice prolific 
ofl 



See the high-charg'd goblet fmi- Wine's the liquor moft leguil- 

To each letter of her name $ I'ng> ing, 

Gods they deem'd it a fpccific, Bid^s thee Strephon cjrink and Wine's the weapon conquers 

Why not mortals dp the fame f prove, love. 



The Amorous Protector. Set by Mr. Broderip. 



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BE 



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ry fweet that glads the fpring, A 






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tri*— bute to thy charms I'll bring 5 I'll 



-mi tate the 



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bufie 



The <$0ttU$ Delight. 



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hu fie bee, To make a garland crown for thee, To make a 



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— ' I ■* -J - © ' — no 

gar land crown for thee 



thee When from the 




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plains we're chae'd a way, By the fierce god that rules the day } 







^fe j^CF Jsfe^ 



I'll lead thee to the fhades and 



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ftreams, To ftiicld thee from his fecrch— ing beams- To fhield thee from his 



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tELd 

fea^h ing beam, 







And when to reft her eyes in- fleep. My tender, faithful care fliall 

cline, My love, &c- prove 

And light nor they no longer From all the ills that night in- None watch fo well as thofe that 

• fhine ; vade love- 

The faireft fleece of ev'ry flieep I'll guard the dear» the beauteous Ksne watch, &c» 

My love iliall ptefv in peaceful maid i. 

The 



102, 



The fl^ttf tS Delight. 

The Lover and the Friend. Sung by Mr. Lowe. 






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Andante Affettmfi. 



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O thou for whom my lyre I ftring, Of 

e 



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whom I think and fpeak and fing ; Thou conftant objeS: of my joys» .Vhofe fweetnefs ev'ry wifh em- 



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ploys, Whofe fweetnefs ev'ry wifli employs- 



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Thou deareft 



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of tfcy fcx attend, And hear the lov — er and the friend, And hear the lov er and the 



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Thou deareft of thy fex at — tend, And hear 



friend. Thou deareft of thy fex at— tend, And hear the lov er and the friend 



85 






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EBE 



"""•"" Not 



The $0tttZ& Delight. 



103 



Not diftant is the cruel day, 
That tears me from my felf away ; 
Then frown not, fair one, if I try 
Toftcal the moifture from your eye , 
And from your heart a figh to fend, 
To mourn the lover and the friend- 
To mourn, Sec. 



I faw you frill, your gen'rous heart 
In all my forrows bore a part -, 
Yet while your eyes $pity glow'd, 
No words of hope your tongue be- 

itow'd ; 
But mildly bid me ceafe to blend, 
The name of lover and the friend. 
The name, &c« 



In vain alas ! in vain I fttive, 
To keep a dying hope alive ; 
A laft fad remedy remains, 
'Tis Abfence y mult cure my pains} 
Thy image from my bofom rend, 
And force the lover from the friend. 
And force, &c 



Whole years I ftrove againft the 

flame, 
And fuffer'd ills without a name j 
Yet ftill the painful fecret kept, 
And to myfelf in filence wept ; 
'Till grown unable to contend, 
% own'd the lover and the friend. 
J tivn'cl, &c. 



Curfe on all wealth that can deltroy 
My utmoft hope of earthly joy ; 
Thy gifts, Oh fortune ! Irefign, 
Let her and poverty be mine : 
And ev'ry year that life fliall lend 
Shall blefsthe lover and the friend. 
Shall blefs, &c 



Vain thought ! tho' feas between us 

roll, 
Thy love is rooted in my 1 oul ; 
The vital blood that warms my heart 
With thy idea muft depart ; 
And Death's decifi ve ftroke muft end 
At once the lover and the friend- 
At once, &c» 



Orpheus and Euridice. Set by Dr. Boyce. 



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When Orpheus went down toy regions below which men are forbid — den to fee. He tun'd up his 



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lyre as old hif — tories fhew, To fet his Eu — ri-di-ce free, To fet his E* — ri-di-ce free 

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All Hell wasaftrmifli'd a perfon fo wifefhd- rafhly endanger his life, & venture fofar but how vaft their fur- 



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prize <p they heard y he came for his wife, How vaft their furprizc when y heard y he came for his wite. 




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To find out a punifhment due to gain. He took her again, in reward of 

the fault, He gave hip:, 8cc. his artv 

Old Piuto had puzzl'd his brain ; But pity fucceeding foon vanquiih'd Such power had mufic in hell. 

B,ut hell had not torments furficient his heart, Such J>o-Tuer, &c« 

he thought, And pleas 'd vith his playiiig {* 

So, he gave him his wife back a- well, 

The 



104 



The 4$)tiftS Delight. 

The Wanderer fix'd. Set by Mr. Arne. 



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My youthful heart ah 



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ea fy prize, Was firft enflav'd by Sal — ly's eyes •, With ev ry glance enchanted, With 



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-v'ry glance en—— chanted : But, tho' the rapture thrill'd my foul, With aukward 



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air each kifs I ftole, Nor knew the hlifs I want— ed, Nor knew the blifs I 



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To fludy then I flew for aid, 
But there, too foon, foft thoughts 
invade, 
And taint my inclinations ; 
Why did ye, gods, fuch warmth 

impart ? 
Why form my unreiHting heart 
A Have to all the paifions 



Doom'd ftill a dupe to giddy love, 
Falfe Sukey's charms I needs mull 
prove, 

And rufh'd to my undoing 5 
For O too foon the gentle flame 
A wild deftruftive fire became, 

And hurried me to ruin« 

And hurried, &c» 



Then Ihort and tall and brown and 

fair, 
By turns my am'rous moments fiiare 

Unfix'd as April weather j 
Nor would my heart fubmit t'ea- 

trcat 
A fingle nymph, but proudly beat 
For all the fex together, 
fir all, &c 

At 



The ^ttfeS Delight. 



105* 



S' And was again unhearted ; 

To her the little flutt'rer flew, 
At length I Jenny chanc'd to fee, And grafted to her bofom grew, 
Like gentle nature fair and free, 



Nor can from thence be parted. 
i\T«* can, &e« 



Susannah. Set by Mr. Handel. 
Sung by Mr. Brett, at RaneJagh Gardens, at Liverpool. 



fejgjgJJE^^ 




Andante. 



Ask 




ifyondamask rofe is fweet y fcents the am- — Went Air, Then ask each fliepherd f you meet if 




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dear Su — fan-nah's fair ; if dear dear Su-fan-nah's fair, if dear Su— fan— nah's fair : Atfc 
M— » , _— , .... -J . - — - — , „n , I 



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if yon damask rofe is fweet y fcents the am— bient Air ; Then ask each Shepherd y you meet if 



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as 



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dear Sufannah't fair, if dear Sufannah's fair. 



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a . love, Let pride in fplendor fhine ; 

Then doubt thy fliepherd's love. Ye bards unenvy'd lawrels weai 
Say, will the vulture leave hi» Say will the vulture, &c Be fair Sufannah mine, 

p re y, Be fair, fair Sufannah mine, 

And warble thro' the grove ? 3« Be fair Sufannah mine. 

Bid wanton linnets quit the fpray, ' the ft oils of war, &c 

Then doubt thy fhepherd's love- The fpoils of war let heroes 
Then doubt doubt thy ihepherd's fliarc, 



Collin's 



O 



xo6 The ^tifeg Delight, 



Collin's Defcription of VauXhaM. Set by Mr. Gladwin. 




O! Maryfoftin feature, I've been at dear vauxhall, No pa — ra— — dife is 




fweeter, Not that they E — den call : At night fuch new va ga — ries, Such 




gay fuch harmlefs fport 5 All look'd like giant fai ries, And this their monarch's court 

9° Eg — p — $• 






Methought, when firft I enter 'd, 

Stich fplendor round me Ihone, 
Into a world I ventur'd 

Where rofe another fun : 
Whilfi: mufic, never cloying, 

As sky-larks fweet I hear 5 
The founds I'm ftill enjoying, 

They'll always foothe my ear« 



As ftill amaz'd I'm ftraying 

O'er this enchanted grove, 
I fpy a harper § playing 

All in his proud alcove.: 
I doft my hat, defiring 

He'd play up Buxom Joan, 
But what was I admiring ? 

Odzooks ! a man of ftone. 



Thus -wnilfr 'rhid joys abounding. 

As giafhoppeis they're gay, 
At diltance crouds f unrounding 

The lady of the May, J 
The mani'th' moon tweer'd ilily, 

Soft twinkling thro' the trees, 
As tho' 'twould pleafe him highly 

To tafte deliehts like thefc. 



Heie paintings fweetly glowing, 

Where'er your glances fall j 
Here colors, life bellowing, 
. Bedeck this Greenwood-hall : 
The king there dubs a farmer, * 
^ There John his doxy loves ;* 
But my delight's the charmer 
Who fteals a pair of gloves- * 



But now the tables fpreading 

They all fall to with glee ^ 
Not e'en at 'fquire's fine wedding 

Such dainties did I fee : 
I long'd (poor ftarv'ling rover) 

But none heed country elves, 
Thofe folk with lace dawb'd over 

Love only dear themfelves» 



* Alluding to three pictures in the 
pavilltons ; the king and miller , the 
failors in atippling-haitfe, and the 
girl ftealing a kifs from a fleepy gen- 
tleman. § Mr. NandeVs flattie. 
I Her Royal Highnefs the Princefs 
of Wales fitting tinier her fp'.cndid 
pavillioHi 



The Wifh. Set by Mr. Howard. 




piilili|lp|lill 



The ^Pttftg Delight. 107 



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▼ex'd the mi— fes fpring, To haunt un— vex'd the mnfes fpring 



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Some cot I wifli for where fweet peace Mild o'er f foul her influence flieds, 



^ir-^^^^E^EJEJE^^^^E^ 



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mmmmm mmmmm 



Where pleafuresflow with fond encreafe, And fport at cafe on ro — fy beds. And 






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fport at eafe on rofy beds. 



® 



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Where fylvaa fcenes the fancy Of fummer's fiercely-darting ray. Th' afpiring hill, the tufted glade, 

raife, Offtsmmer^s, &c, Soft themes fliall pleafing 

Exalt the foul, improve the The dimpl'd ftrearn, the winding thoughts fuggeft. 

lay ; fhade, Soft themes, &c- 

Where fanning Zephiis foothc the The lawn in cnaanaiog ve*dj«e 

blaze dreft j 

Philofophy 



io8 The #ttft£ Delight. 

Philofophy no Remedy for Love. Sung by Mr. Lowe. 



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Long had I bo 



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ri Ahc H-H— 1VI W = FFPF : Ph» — Fr^fa-^fH"^^ 



love the pain, And long in filence drag'd y chain ; With re fo lution ne'er to tell the 



gg^fegj^fefe^teEgEg^gl 



f^peisSiii^feSi 



t * 



love I bore to I fa--bel, The love I bore to Ifa--bel. 







The fire file kindled in my breaft, Dear Ifabel,thou mueh-lov'd maid, To eafe me. of the: thrilling fmart, 

Philofophy would havefupprefs'd; Bring toa bleeding heart thine aid ; To wrench the dagger irom m 

But in that keaft love took it's Thou haft- the fountain, thou the heart, 

Hand, 



ftand, pow'r And to apply a hand divine, 

Triumphant, with a burning brand. To quench a flame y wouIaSdevour. O goddefs of my foul ! is thine 
triumphant, &c. To quench, &c 



goUaefs, &c 



The Dying Swan. Set by Dr. Greene. 




^^^^ 



'Twas on a River's ver dant fide, Juft at the clofe of Day : 









- &- -# - 






^fg fa^^^^^i 




A dy—ins Sw»» «M> M« 6c bM To ch.f= h«r C»... » »»y 



qiqrs=g=igr=biptsE 



« 






And 



The <@ttftS Delight. 



109 



And tho' {he ne'er had ftretch'd 

her throat, 

Nor tun'd her voice before ; 
Death, ravilh'd with fo fwect a 
note, 

Awhile the ftroke forbore. 



Farewel me cry'd you filver ftreams, 
Ye purling ftreams adieu, 



Where Phoebus us'd to dart his See yonder fetting fun 

beams, Attends while I my laft rehearfe, 

And blcfs both me and you. And then I muft be gone. 



Farewel the tender whittling reeds, Weep not my tender, conftant 



Soft fcenes of happy love 5 
Farewel ye bright ennamell'd meads 
Where I was us'd to rove. 



No more with you may I converfe, 



mate, 
We'll meet again below ; 
It is the kind decree of fate, 
And I with pleafure go. 



O wouldft thou know, 6fc. Set by Mr. St. Germain.. 



j-r— 4 : 



p^pi^^S^ 



m 



O wouldft thou know what fe cret charms, This deftin'd heart of mine a- 



jg^ ^^gEfe^^dH^^^^ ^^ 



; ^^^^^^^^^^^^gjg 



larms ; This deftin'd heart of mine a larms j 



;^^^^^3^^^! 




=F*i= 



35BES 



^usi^^^i 



What kind of nymph f heav'ns de — cree, f maid y's made for 




j ^E^M=g 



Who feels the bleffing me beftows: Be ftich the maid that's made for 
Who feels, &c me. 

Who joys to hear thefighs fincere, Gentle to all, but kind to me, Be fttck, &c; 



Who melts to fee the tender tear: 

Who melts, &c. 
From each ungentle paffion free, 
O be the maid that's made for me. 

be the maid, &c. 



Whofe heart with gen'rous friend- 
iliip glows, 



Be fuch the maid that's made for. 

me. S 

Be fuch, &c . A vaunt, ye light coquets retire r 
Where flutt'ring fops around ad- 

4. fart, mire : 

Whofe fimple thoughts devoid of Where flutter ing fops, &C- 

Are all the natives of her heart : Unmov'd your tinfel charms I fee, 

Are all, £cc More genuine beauties are for me« 

A gentle train,, from fallhood free. More genuine beauties, &c 

Happy 



no 



#J 



The £$lt$t£ Delight. 

Happy Pair. Set by Mr. Handel. 






^©E^ffi 



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Jtfty 3 . - 



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Happy happy, hap— py pair, 



i^E^^^^^P^^^^^ 



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None but y brave, none but y brave, none but y brave deferves y fair,None buty brave 



i *-£-=-#- 



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When gen — tie Parthe nif — fa walks, Or gay — ly fmiles, or fweet ly talks j 

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Annie. Set by Mr. Baildon. 




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This lovely darling, deareft care, Among the crowd Amintor came, 

This new delight, this charming He look'd he lov'd, he bow'd to 

t -i r™ % j . r Annie ' 

Like fummer s dawn is frefh & fair, His rifing fighs exprefs his flame, 

When floras fragrant breezes His words were few his wiflies 

...j r\F : , man Y : (plied, 
All day the am rous youths conveen, With fmiles the lovely maid re- 
Joyous they fport and play before Kind fhcpherd why iliould I de- 

A II •' X ' 1 fl CC ' VC VOU ' 

t m £v??,? fllC n ° more is feen > Alas ! yow'love muft be denied, 

In bliisful dreams they fliU adore This deftin'd breaft can ne'er r*. 

iier. All nighty &c lieve you. Alas, &c 



Young Damon came $ Cupid-'s art, 
His wiles, his fmiles, his charms 
beguiling ; 
He ftole away my virgin heart, 
Ceafe poor Amintor, ceafe be- 
wailing : 
Some brighter beauty you may find, 
On yonder plain the nymphs are 
many ; (confin'd, 

Then chufe fome heart that's un- 
And leave to Damon his owa 
Annie. And leave, &c. 

Powerful 



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Rosamond. Set by Mr. Purcel. 



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The Poet to the Rofe. The Words by Mr. Gay. 



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burn and die. 



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Aria nel Mitridate. Set by Signor Terradellis. 
Sting by Signiora Pircker. 



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Ni mi— ca la for — te min'. — vita in conten— .ti, Ma poi di ri— — tor— tc ma 



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The i^ttftS Delight. 

The Mournful Fair. Set by Mr. Arne. 



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On cv' ry hill, in cv' ry grove, A long the 



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main, But Da— mon there I feek in vain. The hills the groves the ftreams re 






main, But Damon ! there I feek in vain. 



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From hill, from dale, each charm Each flow'r, in pity, droops it's All all reproach the faithlefs fwain, 

is fled, head, But Damon there I feek in vain. 

t3roves,flocks and fountains pleafe AH nature does my lofs de- All all reproach the faithlefs fwaw t 

no more 5 ptare : $ut Damon there I feek in vain* 

Spring 



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The $$\xit$ Delight. 



Spring Gardens. Set by Dr. Boyce. 




Flora god— defs fweetly blooming, E--ver ai--ry e-ver gay ; All her wonted 




charms re — fuming. To Spring Gardens hafte a—way : With this blifsful fpot de — lighted 



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elles and bet 

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Here the cjueen of may retreats 5. Belles and beaux ate all in — vi ted 




See a grand pavillion yonder, 

Rifing near embow'ring fhades ; 
There a temple ftnkes with won- 
der, 

In full view of collonades : 
Art and nature, kindly lavifh, 

Here their mingled beauties 
yield, 
Equal here the pleafnics ravifli, 

Of the court and of the field- 

Of the court j &c- 



Hark, what heavenly notes de- 
fending, 

Break upon the lift'ning ear ■, 
Mufic all it's graces lending, 

O J 'tis eatacy to bear : 



Nightingales the concert joining, 
Breathe their plaints in melting 
{trains, 

Vanquifli'd now their groves re- 
signing, 

Soon they fly their diftant plains. 

SOOTI) &c«. 



Lo ! what fplendors round us dart- 

Swift, illume the charming 
fcene ; 
Chandeliers their light impart- 
ing' 
Pour fre/h beauties o'er the 

green } 
Glittering lamps in order plant- 
ed, (prize : 
Strike the eye with fweet fw- 



Adam fcarce was more enchanted 
When he faw the fun firft life 
When he faw, &c> 



Now the various bands are feat* 

ed > 

All difjos'd in bright array ; 

Bufinefs o'er, and cares retreat- j 
ed, 
With gay mirth they clofe the 
day '•■ 
Thus, of old, the fons of plea- 
fure 
Pafs'd in fliades their favourite 
hours ; 
Nectar cheering their foft leifure, 
Bleft by love and crown'd with 
flow'rs- 



The 



The SButtS Delight. 



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The Conteft between Love and Glory. Set by Mr. Arne. 




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At lefp. too foon dr. creature receive y fond adieu, Thy pains O love how 



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fwelling with love's foft tumult beat. 



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X go where glory leads me, 

And points the dang'rous way ; 
Tho' coward love upbraids me 

Yet honour bids obey : 

let honour, &c- 
But honour's boafting ftory 

Too foon thofe tears reprove, 
And whifpers fame, wealth, glory ! 

Ah ! what are they to love ! 
And whifpers fame, wealth, glory \ 

Ah I what are they to love 



Two paffions, ftrongly pleading, 

My doubtful bread divide ; 
Lo ! there my country bleeding, 
And here a weeping bride : 
And here, &c. 
But know, thy faithful lover, 
Can true to either prove j 
Fame fires my veins all over, 
Yet ev'ry pulfe beats love* 
Fame fins my veins all over t 
let ev'ry pulfe beats love- 



Then think where'er I wander, 

The fport of feas or wind, 
No diftance hearts can funder 

Whom mutual faith has join'd ; 

Whom mutual faith, &c- 
Kind heav'nj the brave requiting, .. 

Shall fafe thy fwain reftore ; 
And raptures crown the meeting, 

Which love ne'er felt before. 
And raptures crown the mee ting t 

Which love ne'er felt, before' 



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The Little Heart. Set by Mr. Dunn. 

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O tell rac love the ti ' m e and day This lit tie heart will 



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If to fome fliade, from fatnmei's If near fome ftream where chryftal Then fwift as light Pll feek the 

_ heat, fall way, 

This little heart fhould feek re- Invites the virgin to it's call, And make this little heart nay- 
treat; If near fdmc fire am-, &c> P^Y' Then fwift, Sue- 

If to fame Jhade, &e. Sweet murm'ring echos reach, my Kind love with joy iliall make her: 
Diretl mc love this heart to find, ear, own 

For in that place file '11 prove more And fay, my love youi heartis She ne'er repents he* heart, was^ 
kind. here. ftol'n. 

Dirett me love, &c» , Sweet ■mnrm\ing, &c« Kind love, &c» - 

The Happy Bacchanalian.. 




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Fillyoor glaffes, banifh grief, Laugh and worldly cares defpife ; Sorrow ne'er can i 



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bring relief, , Joys from drinking will arifc : : "Why ftiould we, with winkl-4-'d. care^ 




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Change what na — ture made fo fair ! Drink and fet y heart s at reft, Of a bad bargain make the beft» 



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Some purfue the winged wealth, 
Some to honour do afpire ; 

■Give me freedom, give me health, 
There's the fum of my defire : 

What the world can more prefent 

Will not add to my content. 

Drink and fet your hearts at reft, 
JSftsiet of mind is always beft. 



Bufy brains we know, alas ! 

With imaginations run ; 
Like the fand in th' hourglafs, 

Turn'd and turn'd and ftill runs 
on : 
Never knowing when to ftay, 
But uneafy e'ery way. 

Drink and fet your hearts at rcfl t 

lean of mind is always heft* 



Mirth , when mingl'3 with out 
wine, 

Makes the heart alert and free 5 
Let it rain,, or fnow, or fhine, 

Still the fame thing 'tis with me; 
There's no fence againft our fate, . 
Changes daily on us wait. 

Drink and fet your hearts at refl 9 

Of a bad bargain make the beft* 



n8 The £&ttU8 Delight. 

The Power of Mufic and Beauty. Set by Mr. Stanley. 



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a. JW*</;c enchants, &c. 

But here together both appear, 3. 

And force united try ; 
Mufic enchants the lift'ning ear, What cruelty ! thefe powers to 

And beauty charms the eye. join J 



« Thefe tranfports who can bear ! 
Oh .' let the found be lefs divine, 
Or look the nymph lefs fait. 
Oh ! let the found, &c 



TJye Ardent Lover. Sung by Mr. Lowe. 




Tender. Believe my fighs, my tears, my dear, re — lieve the heart you've won 5 Believe my vows 




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to you fit* — cere, or Mog — gy I'm undone ! You fay I'm fickle, and apt to change to 



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ev' ry face that's new, But of all the girls I c— — ver faw I ne'er lov'd one like you. 



The ^ttfeS Delight. 



119 



My heart was like a lump of ice, A flame that ne'er can die. For of all the girls I ever faw, 

Till warm'd by your bright Then take me, try me, and you I ne er lov'd one like you. 

eye j fhall find, 

But then it kindled in a trice That I've a heart that's true ; 

Sweet William. Sung by Mifs Stevenson, at Vauxhalh 
Set for the German-Flute. 



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By a pratt— ling ftream, on a Midfummers Eve, Where woodbines and jefs'min their 



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bought inter — weave '■, Fair Flora I cry'd to my 
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ar — bour repair, For I mull have a 

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chap— let for fweet William's hair, For I muft have a chap — let for fweet William's 
m -ft- m J ^^ -ft- 9 » - ft- *-& ■ 1 







She brought me the vi'let, that 

grows on the hill, 
The vale-dwelling lilly and gilded 

jonquil •■) 
But iueh languid odours how could 

■I approve, 
J uft warm from the lips of the lad 

that I love. 
Jnft warm* &c 



She brought me his faith and his 
truth to difplay,, 



The undying myrtle and ever-green 

bay j 
But why thefe to me, who've his 

conftancy known, 
And Billy has lawiels enough of 

his own. 
And Billy, &c 



The next was a gift that I could 

not contemn, 
For flie brought me two rofes that 

grew on a ftem ; 
Cf the dear nuptial tie they flood 

emblems confert, 



So I kifs'd them and prefs'd them 
quite clofe to my breaft. 
So £ kifs'd, &c. 



She brought me a fen-flow'r— -this 

fair one's vour due, 
For it once was a maiden and love* 

rick like you ■■, 
O give it me quick, to my fliepherd 

I'll run, 
As true to his flame as this flow's 

to her fun. 
As true, &c. 



Bumpers., 



ijo The $$\Xtt£ Delight. 

Bumpers, 'Squire Jones. Sung by Mr. Lowe. 




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Ye good fellows all who love to be told where there's claret good {tore, At— tend to the 



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call of one who's ne'er frighted but greatly delighted with fix bottles more : Be— fure you don't 



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humour, for pray { v would you more than mirth $ good cla— ret and bumpers 'Squire Jones 

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33 



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Ye lovers who pine 
For laffes that oft prove as cruel 
as fair ; 
Who whimper and whine, 
For hllies and rofes, 
With eyes, lips and nofes, 

Or tip of an ear ; 
Come hither I'll fliow ye, 
How Phillis nor Cloe, 
No more fhall occafion fuchfighs 
and fuch groans ; 
For what mortal fo ftupid, 
As not to quit Cupid, 
Whcncall'dby good claret, &c> 



Ye Poets who write, 
And brag of your drinking fam'd 

Helicon's brook ; 
Tho' all you get by't 
Is a dinnei oft times, 
In reward for your Rhimes, 

With Humphry the duke j 



Learn Bacchus to follow, 
And quit your Apollo, 

Forfake all the Mufes, thofe fenfe- 
lcfs old crones : 
Our jingling of Glaffes 
Your rhyming furpaffes, 

When crown'd with good claret, 
and bumpers, &c~ 



Ye Soldiers fo flout, 
With plenty of oaths, tho' no plenty 
of coin, 
Who make fuch a rout, 
Of all your commanders 
Who ferv'd us in Flanders 
And eke at the Boyne ; 
Come leave off your rattling, 
Of fieging and battling, 
And know it's much better to lleep 
with whole Bones : 
Were you fent to Gibralter, 
Your note you'd foon alterj 
And wifh for good clatet, &c ■ 



Yc Clergy fo wife, 
Who myft'iies profound can dc- 
monftratc clear ; 
How worthy to rife .' 
You preach once a Week, 
But your tithes never fcek 

Above once a year : 
Come here without failing. 
And leave off your railing 
'Gamfl: bifhops providing for dulij 
ftupid drones: 
Says the text fo divine, 
What is life without wine ? 
Then about with the claret, &c 

6. 

Ye Lawyers fo juft, 
Be the Caufe what it will you Co 
learnedly plead ; 
How worthy of truft ? 
You know black from white, 
Yet prefer wrong to right, 
As you're chane'd to be feed : 

Leave 



The APttfeS Delight. 



131 



Leave mufty reports, 

And forfake the King's Courts, 
Where dullnefs and difcord have 
fet up their throne* ; 

Burn Salkield and Ventris, 

With all their damn'd entries, 
And away with the claret, &c 



Ye Phyfical Tribe, 
Whofe knowledge confifts in hard 
words and grimace ; 
When e'er you prefcribe, 
Have at your devotion, 



Pills, Bolus or Potion, 

Be what will the cafe : 
Pray where is the need, 
To purge, blifter or bleed, 
When ailing yonrfelves the whole 
faculty owns, 
That the forms of old Galen, 
Are not fo prevailing 
As mirth, with good claret, &c 



So 



Ye Fox-hunters eke, 
That follow the call of the horn 
and the hound 5 



Who your Ladies forfake 
Before they're awake 
To beat up the brake, 

Where the vermin is found ; 
Leave Piper and Blueman, 
Shrill Dtitchefs and Trueman, 
No Mufic is found in f uch diffonant 
tones : 
Wou'd you ravifh your ears, 
With the Songs of the Spheres, 
Hark away to the claret and bum- 
pers, 'Squire Jonc5> 



the Shepherd's Complaint. Set by Mr. Russel. 




Sweet were once the joys I taft-ed, All was jol ly 

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and love 5 




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Time me — thought too nimb- ly hafted, Which on pleafute's wings did move 






Chloe's heart was all my treafure, Never was a rich- 



-er fwain s Chlo— -e 



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doubled ev'— — — —ry pleafure. Chlo-e ba— — nifh'd e--ve-ry pain. 



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ed, 
But the envious Gods repining I'll difpute a tott'ring throne. 

So much blifs on earth to lee, 
All their bitt'reft curfes joining, 3» 

Dafli'd my cup with jealoufy ; 
Now where erft my pipe refounded, Fool that ever art purfuing, 

Steals the figh& heart felt groan } What conceai'd is always btftj 



Love by doubts and fears furround- Jealoufy, Iove*s child and ruin, 

Leave, ok leave, my tortur'd 
breaft ! 
With the flave thy pow'r confefling, 

Thou to Venus mildly deal, 
They who fllun or flight thy bleffing 
Should alone thy torments feel* 



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The iptifeS Delight. 

The Abfent Lover. Set by Mr. Barnard. 



Ye gen — tie gales that fan the air, And wan — ton in the fliady grove ; 



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O ! whif per to my ab— fent fair, My fecret pain and endlefs love. 



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And in the fultry heat of day, That when flie fees their colour And when file lays her down to 

When flic does feek fome cool fade, reft, 

retreat ; And all their pride neglefted lie, Let fome aufpicious virion fliew 

Throw fpicy odours in her way, Let that inftruft the charming maid Who 'tis that loves Camilla beft, 

Andfcatter rofes at her feet. That fweets untimely gather'd And what for her I undergo. 

die. 

The Beggar. Sung by Mr. Brett. 



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A beggar, a beggar, a beggar I'll be, For none live a life fo jovial as he, a beggar I 



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was, and a beggar I am, a beggar I'll be,from a beggar I came ; & if y it happens our trading fhou'd 



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fall, wc in y conclusion fliall beggars be all ; Tradcfmen are un-— fortunate in their affairs, and 



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few men are thriving but Courtiers and Players. 

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The figJttEeS Delight. 



A 5D 



A cntver my father, a maunder my We beg for our bread, yet fome- For fitch petty pledges as fhnts 

mother, times it happens from the hedges, 

A filer my lifter, a filchcr my bro- We feaft it on pigs, pullet*, cun- We never do tear being drawn UJK; 

thcr, uies or capons - on Hedges -, 

A canter my uncle, who values no For churchmcus affairs we arc no Yet foinciiincs the whip di.es mi ike 

pelf, mcn-llaycrs, IS to skip, 

A lifter my aunt, and a beggar Wc have no religion, yet live by And then wc horn tiling to tiling 

myfclf ; our pray'rs , do trip ; 

In white wheaten ftraw, when their And oft' when wc beg and men But when in a poor booking ken \w 

bellies were full, draw not their purfe:., do bib it, 

There I was begotten, 'twir.t tin- We charge and give lire with a Wc arc more alraid of the flocks 

kcr and trull ; volley of curfesi than the gibbet ; 

And therefore a jolly bold beggar The devil confound your good wor- And if from the ftocks wc keep out 

I'll be, fhip wc cry, our feet, 

For none lives a life fo jovial as And fucn a bold brazen-face beggar Wc fear not the compter, kingV 

hc- am I. bench or the Heel- 

s' 5- 

1- 

Sometimes we flame ouifclvCs to 

be lame, 
And when a coach comes wc hop 

to our fame ; 
Wc fcldoin mifcarry, nor ever do 

marry, 
By gown, common prayer or cloak- 

directory : 
But Simon and Sufan, like birds 

of a feather, 
They laugh and they l.ifs and they 

lie down together •, 
Like pigs in the peat, entangled 

they lie. (rogue as 1 • 

And there they begot fuch a bold 



When boys they come to us, and We do things in fcafon, and have 

fay their intent is fo much rcafon, 

To follow our calling, wc ne'er bind Wc raifc no rebellion, nor ever 

'cm 'prentice ; talk treafon ; 

Soon as they come to't wc learn We bill with our mates at very low 

'cm to do't, rates, 

Wc give them a ftaff and a wallet Yet fomc keep their quarters as 

to boot ; high as their gates : 

Wc lend 'cm our cant, for to crave With Shcnkin or Morgan or Lounf- 

and to cant, man or Tcaguc- 

So the devil is in it if e'er they can Wc into no covenant enter, or 

want : league ; 

Therefore he or flie that a beggar And therefore a jolly bold beggar 

will be, I'll be, 

Without an indenture may foon be For none lead a life fo jovial as 

made free. lie • 



The Dream. Set by a Gentleman of Oxford. 



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isii isil 



Whilft I in llccp lalt night was laid, . Mcthought 'twas in a lonely grove ; 






That I with Em — ma, beauteous maid, walk'd hap — py and dif— cours'd of love. 




Sweet Cruel nymph, faid I, rcjeft 
No more the vows of one finccrc ; 

If love unfeign'd you e'er expect 
To find in man, you find it here 



tair j 

Can love in man, faid flte, be true V Then fliall the world our loves ad- 
Ar.d don't their words belie their mire, 

And fay-, behold one perfeft pair. 



Are not vnur fex a pcrjur'd crew ? S« 

Their promifes ne'er made to 

bind- With tranfport fciz'd, I 'gan to 

wake, 
a. (Grieving, my mufe purfue the 

theme) 
Then I'll return, with equal fire, A perfect pair '. O dire millakc ' 

The love you ftlcw your happy 1 found (i.ch blifs is but a drearrti 

fair 



n-intl t 



Pedro's 



134 



The ^Pufeg Delight. 

Pedro's Dance. The Wcrds by a Gentleman. 



^^^^^^ ^B 



When wit and beauty lead y way { x . can withftand £ pow'rful fway ? ^ foul in plea— ling 




rap — ture lies, a — way the conqueror bears f prize : What mor — tal can withitand f dart when 




it has pierc'd his tender hearr, how can he eafe his troubled mind un — lefs f lovely nymph is kind. 




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a. Enjoys the nymph amidft her Each woes his mate with rural 

friends* notes : 

Where {hall I go to vent my woes, Direct me, Cupid, to the place 

Or w hither fly to feek repoie ? 3» Where I may view her charming 

To whom fhall I difclofe my mind, face 5 

And fay, my Celia proves unkind ? If thro' the ihady groves f rove, With her to weat out all my days, 

I'll follow the receipt that Jove Still ev'ry objeft prompts to love > Embalm'd in blifs and bleft with 

Try'd to obtain his Danae's love ; The warblers, with their little eafe« 
In lhow'rsofgold the goddefcends, throats, 

The Maid's Requeft. Set by Mr. J. F. Lampe. 




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Glide fwiftly on thou fil — ver ftream, Pur — fue the lad I love ; In gen 



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r murs tell my flame, And try his heart to move, and try his heart to move- 



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So may thy banks be always green, 

Thy channel never dry ; 
If e'er thy fprigg be failing feen, 



My tears fliall that fuwply. 
My tears, &c. 



In place of ufelefs weeds ; 
May painted flow'rs adorn thy 
brim, 

3. And knots of bending reeds» 

May gilded carps thy furface skim, And knots, &c« 

The 



The ^PafeS Delight. 

The Flower of Edinburgh. Set by Sigr. D. Rizzio. 



1ST 



My Love was once a bon — ny Lad, he was the Flow'r of all his Kin ; the abfence of his 




fi— -lent Tears I ftill complain 8c rail at thofe my ri— val Foes, that took from me my darling Swain- 



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Defpairand Anguiill fill my Breaft, 
Since I have loft my blooming 
Rofe; 
I figh and mourn while others reft, 
His abfence yields me no repofe : 
To feck my Love I'll range and 
rove, 
Thro' ev'ry Grove and diftant 
Plain; 
I ne'er will ceafe, nor be at eafe, 
'Till I hear from my darling 
Swain* 

3- 
Inecdnot ftrange at Nature'schange 
Since Parents fhew'd fuch cruelty; 
Therefore my Love from me does 



range, 
And knows not to what Defti ny : 
The pretty Kids and tender Lambs, 
Shall ceafe to fport upon the 
Plain, 
And fliall lament in difcontent, 
The Abfence of my darling 
Swain. 

4- 
Kind Neptune, let me you intreat 
To fend a fair and plealing Gale ; 
Your Dolphins fweet upon me wait, 

For to convoy me on your Tail : 
May Heavens blefs me with Suc- 
cefs, 
While crofting of the laging 
Main ; 



And fend me o'er to that fame 
Shore, 
To meet my lovely darling Swain. 
S- 
All Joy and Mirth, at our Return, 
Shall then abound from Tweed 
to Tay ; 
The Bells fhalt ring, the B rds iliall 
Img, 
To grace and crown our Nuptial 
Day: 
Thus, blelt with Charms, in my 
Love's Arms, 
Once more my Heart I will ob- 
tain ; 
I'll range no more t'a diftant Shore, 
But will enjoy my darling Swain* 



To Salinda. Set by Mr. M. C. Festing. 



lf^^i^l.^s§^gii 



Love, imag'd blind by i — die bards, Is ea — gle ey'd in me ; I fee in you a 

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When 



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The fS^nftS Delight. 



(face 

When nature form'd that angel 
She lavifh'd all her pow'r ; 

Be this, file cry'd,my maftcr-pieee, 
Kneel, mortals, and adore. 
Be this, jBcc- 



Like her own Flora's vernal blufh, 

Her blooming cheek flic dies ; 
And from the morning dew-drops 
takes 



The luftre of your eyes. 
And from the morning, &c 



Like equal rows of orient pearl 
She fets your even teeth } 

With live vermillion ftains your 
lips, 
With neftar dews your breath* 
With live vermillion, &c. 



Fond love and open truth appear. 
The features of your mind ; 

And pleafure ijpeaks in ev'ry glance 
The wifli of all mankind* 
And pleafure, &c. 



Where all the graces thus unite, 

'Tis merit to approve ; 
And reafon, which at firft admir'd, 

Is forc'd to end in love. 

And reafon, &c« 



The bljtheft Bird. Sung by Mr. Lowe. 




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The blyth— -eft Bird that iings ia May, Was ne'er more bly-th was ne'er more gay than 



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yet had learn 'd to Sigh, Or I to guefs the Reafon why ; Oh Love ! a- 




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well a day, Oh Love ! a well a — day. 



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We kifs'd, we toy'd, but neither 
knew 

From whence thofe fond Endear- 
ments grew, 

'Till he, a-well a-day ! 'till he, a- 
well a-day ! 

By Time and other Swains made 
Wife, 

Began to talk ofHearts and Eyes, 

-And Love, a-well a-day ! and Love, 
a-weil a-day. 



Kind Nature now took -Collin's 

Part, 
My Eyes inform againft my Heart, 
My Heart, a-well a-day ! my Heart, 

a-weil a-day! 
Straight glow 'd with thrilling Sym- 

pathy, 
And echo'd back each gentle 

Sigh, 
Each Sigh, a-well a-day ! each Sigh 

a-wcll -a-day! 



Can Love, alas ! by Words be 
flicwn, 

He ask'd a Proof, a tender One, 

While I, a-well a-day ! while I, 
a-well a-day ! 

In filence blufh'd a fond Re- 
ply ; 

Can file who truly Loves deny ? 

Ah ! no, a-well «-d»y } ah ! no, *• 
well a-day ! 

?7x 




The £0ttfcg Delight. 

The Lad for me. Set by Mr. Worgan. 



137 




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Since Jenny thinks mean her love to deny, And 



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Peg — gy's un— eafy when Harry's not by 



I'll own without blufhing, were 



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all the world by, That Willy's the lad, the lad for me. And Willy's the lad, the 



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He brought me a wreath which his Thefe ribbands of mine his gift at I cry'd you're too rude— with af- 

hands did compbfe, the fair, fe£ted difdain, 

Where the dale-loving lilly was My mother look 'd crofs, and cry'd (For early in life we're inftructed 

turn'd with the rofe ; Fanny beware : to feign ) 

Young myrtle, in fprigs, did the But d'ye think I regard her ? Not He made me no anfwer, but kifs'd 
. border enclofe. I, I declare. me again. 

And Willys the lad for me. And Willfs, &c. And Willy's, &c- 



By myrtle, faid he, is my paffion Beneath a tall beech, and reclin'd Then what can I do? Inftruft me 
exprefr, on his crook, ye maids, 

The rofe, like -your lips, in ver- I faw my young fhepherd ; how When a lover fo kindly, fo warm- 
million is dreft, fweet was his look .' ly invades, 

And the lilly, for whitenefs, weuld He ask'd for one kifs, but a han- Whole faience as much as his lan- 
vie with your breaft. dred he took. guage perfuades. 
AndWillfs, &c AndWtllfsy &c AndWMfh &e< 

S The 



138 



The 4$)ttfeS Delight. 

The Miller's Wedding. Sung by Mr. Lowe. 




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neighbours your work, and to fport and to play, Let the tabor ftrike up and the village be 



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gay ; Let the ta-- bor ftrike up and the village be gay : No day thro' f year ftiall more chcarful be 



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feen, For Ralph of the Mill marries Sue of the Green. For Ralph of the Mill marries 



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Sue of the Green. I Zow S«e, and Site loves me, And while the wind blows, and while the mill 



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2. And my love, like my courage, will And prudently take the beft bid- 

never give ground. ders to bed j 

Let lords and fine folk, who for And my love, &c And prudently, &c 

wealth take a bride, Clio. I love Sue, &c. Such figning and leahng s no part 

Be married to-day, and tomorrow of our blils, 

be cloy'd } 3. We fettle our hearts and we feal 

Be married, &e. with a kifs. 

My body is ftout, and my heart is Let ladies of fafliion the beft join- We fettle, &c 

as found, ters wed, Cho. I love Sue t «c« , 



The <S&Ult& Delight. 



i?9 



or his wife. 
Tho' Ralph is not courtly, nor none Nor e'er, &o 

ofourbeaus, Cho- I love Sue, &c 

Nor bounces nor flutters nor wears 

your fine cloaths ; 5* 

Nor bounces, &c 
In nothing he'll borrow from folks While thus I am able to work at 
of high life, my mill, 



Nor e'er turn his back on his friend While thus thou art kind, and thy 



tongue but lies ftill ; 
While thus thou art kind, &c> 
Our joys fhall continue, and ever 

be new, 
And none be fo happy as Ralph 
and his Sue. 
And none, &c- 
Cho. I love Sue, &c 



The Adieu to Susan. Set by Mr. Lampe. 



feB^i^fe feasg^g 



All in the Downs the fleet was moor'd, The ftream— crs waving in the 



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wind, When black-ey'd Sufan came on board, O I where fhall I my true love find t 



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Tell me ye jovi— al failors, tell me true, If my fweet William fails among the crew. 



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William, who high upon the yard, 
Rock'd by the billows to and fro, 

Soon as her well-known voice he 
heard, 
He figh'd, and caft his eyes be- 
low ; 

The cord Hides fwiftly thro' his 
glowing bands, 

And quick as lightning on the deck 
he ftands. 



So the fweet lark, high pois'd in 

air, 
Shuts clofe his pinions to his 

breaft, 
If chance his mate's fhrill call he 

hears, 
And drops at once into her neft. 
The nobleft captain in-the Britifll 

fleet 
Might envy William's lips tbofe 

kifles fweet. 



O Sufan, Sufan ! lovely dear ! 
My vows ihall ever true remain \ 



Let me kifs off that falling tear, 
We only part to meet again : 
Change as ye lift, ye winds, my 

heart iliall be 
The faithful compafs that ftill 

points to thee* 



Believe not what the landmen fay» 
Who tempt with doubts thy con- 

ftant mind 5, 
They'll tell thee failors when a- 

way 
At every port a miftrefs find : 
Yes, yes, believe 'em when they 

tell thee fo, 
For thou art prefent wherefoe'er I 

go- 



lf to far India's coaft we fail, 
Thy eyes are feen in diamonds 
bright } 
Thy breath is Africk's fpicy gale, 

Thy skin is ivorjr fo white : 
Thus ev'ry beauteous objeft that I 

view 
Wakes in my foul fome charm of 
lovely Sue° 



Tho' battle calls me from thy 
arms, 
Let not my pretty Sufan mourn % 

Tho' cannons roar, yet fafe from 
harms 
William fhall to his dear re- 
turn ; 

Love turns afide the balls that 
round me fly, 

Left precious tears iliould drop 
from Sufan's eye. 



The boatfwain gave the dreadful 

word, 
The fails their fwelling bofoms 

fpread ; 
No longer muft flie ftay on board, 
They kifs'd—ihe figh'd, he hung 

his head: 
Her lefs'ning boat unwilling rows 

to land ; 
Adieu fhe cries, and wav'd her lil- 

ly hand. 



The 



140 




The $0\lU$ Delight. 

The Virgin's Laft Refolve. Sung by Mr. Lowe. 



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Ye Virgins who do 



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lift — en to what— e'er your Mothers fay, Be rul'd by me and let's a — gree no 



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long— er to o bey: For I've been fnubb'd, & I've been diulb'd, till I've been black & 



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blue 5 But I'll behave no more like a Slave, Bat I'll be— have no more like a Slave, I 



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55 



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villi I may die if I do, if I do. I wifh I may die i£ I do. 



a^^gm^i^lg 




j>-hhP 



:S: 



1 1 



^^aai 



1 Both 



The ^uttS Delight. 



141 



Both night and day flic prates a- 
way 

About my being nice, 
But I declare 'twould make you 
flare 

To hear her dull advice ; 
She fays that I from men muft fly 

Or mifchief will enfue ; 
But in all the kind no harm I find, 

In all the kind, &c 

I wifli I may die if I io. 

Iwijh) &c 



She fays that youth 3 ftill blind to 
truth, 
The danger ne'er can tell ; 



Fair S 



And 'tis from fenfe and experience 

That fhe can talk fo well : 
But if flie got fenfe from experi- 
ence, 

Then file may depend upon't, 
I'll try to be as wife as fhe; 

Miry, &c 

I will 1 I may die if I don't. 

I <wijh 3 &e. 



4. 



Young Damon gay, the other day, 

Would ftruggle for a kifs ; 
I pifli'd and cry'd, and him did 
chide, 
With — What d'ye mean by this? 
'Tis wond'rous rude, that you'll 
intrude, 
When I have fo oft forbid j 



ally. Set by Dr. Greene. 



I wifil I may die if you don't make 
me cry, Iiuijb, &c. 
But I with I may die if he did. 
J wijh, &c 



Then I'll to free whilft young I 
be, 
And let my mother fcold 5 
And I'll defpife being quite as 
wife, 
Until I am quite as old : 
At forty-three a prude I'll be. 

And lay my follies by ; 
But never till then will I fllun the 
men, 
But never, &c 
If I do — I wifli I may die. 
If I do, &o 




Spiritofo. Fait Sally lov'd a bonny feaman, $ tears fhe fent him out to roam, &Th&>nas 

*P — ^ Z ?- =L — f*- 




gJS^^P^fe#^^P 



lov'd no other woman, but left his heart $ her at home ; fheview'd the fea from off the 



ass 



=? 



fe 



3s 



^^^^^m^m^^^ 



hill, & as fhe turn'd her fpinning wheel, 



W&E3=££ 



Sung of her bonny Seaman* 



-T-=h 



The winds blew loud, and fhe grew 
paler 
To fee the weather-cock turn 
round, 
When lo ! fhe fpy'd her bonny fai- 
lor 
Come tripping o'er the fallow 
ground ; 
With nimble hafte he leapt the 

ftyle, 
And Sally met him with a fmile, 
And hugg'd her bonny failor- 



Faft round the waift he took his 
Sally, 
But firft around his mouth wip'd 
he; 
Like home-bred fpark he could not 
dally, 
But kifs'd and preffc her with a 
glee : 



\- 

Thro' winds and waves and dafh- 

ing rain, 
Cry'd he, thy Tommy's retuni'd 
again, 
And brings a heart for Sally. 

4 
Welcome, fhe cry'd, my conftant 
Thomas, 
Tho' out o£ fight ne'er out of 
mind f 
Our hearts if feas have parted from 
us 
Yet they my thoughts did leave 
behind ; 
So much my thoughts took Tom- 
my's part 
That time nor abfence, from my 
heart 
Could drive my conftant Thomas 



This knife, the gift of lovely Sally, 



I ftill have kept for her dear 
fake ; 
A thoufand times, in am'rous follfj 
Thy name I've «arv'd upon the 
deck ; 
Again the happy pledge returns, 
To tell how truly Tommy bums. 
How truly burns for Sally. 



This thimble didft thou give te> 
Sally, 
Whilft this I fee I think on 
you 5 
Then why does Tom ftand fhill-I 
fliall-I 
While yonder fteeple's in ouc 
view : 
Tom, never to occaiion blind, 
Now took her in the coming 

mind, 
And went to church with Sally. 



The 



14' 



The jSpttfeS Delight. 



The Lafs of the Mill. Set by Mr. Howard. 



x~0 



S 



L f ^-cU-fgsi^ggp 



Sffifei 



JXjb G.?y firft in Vogue bro't the blithe Molly Mog-g, and flourifh'd her Praife with 



CT 



=c= 



BgjEEgfcE^ 



i fc Ol J tf rl : 




S^fas£$gEJE£E 



o 

his Quill : But 'tis ftrange that as yet the Twick— en— ham Wit never thought 

333 



=Sf 




gH^Ep£c^^ 



3=FF 



Sff^ 



-^W 1 ^ 1 



§ 



of a Neighbouring Mill, Never tho't of a Neigh — hour— ing Mill. 

2k. 



jB—^C 



^=j^g 



fa*: 



That the feas foaming juice 

Did Venus produce, 
Let poets infill on it ftill > 

I ftoutly aver, 

That a fairer than her 
Took her rife from the froth of a mill. 

Took her rife, &o 



In another difguife 

Alcmena he plies, 
Like Amphitrion he frolicks his fill : 

Then why might not Jove, 

As a cloak for his love, 
Take upon him the man of the mill? 

Take, &c 



8 



With influence benign, 

Oh .' would file incline, 
With my ftars, but to favour my 
will ; 

So it might be with her, 

'Twould be raptures I fwear, 
And mufic to live in a mill. 

And mtijic, &c» 



But fay, O ye nine, 

How a nympth fo divine, 
Could the lap of a miller's wife fill, 

Unlefs that fome God, 

Stray'd out of his road, 
And fet up his ftaff in his mill ? 

Andfet, &o 



Once Juno's good man, 
In the fliape of a Swan, 

Did Leda fo lovingly bill, 
That Helen file hatch'd, 
Who never was match 'd 

But by the fair lafs of the mill. 
But by, &c« 



Once Homer inflam'd, 
An hundred tongues claim'd, 
Some ardorous work to fulfil I j 
Let me tell thee old bard, 
This task were to hard, 
Tho' thou hadft all the clacks of the 
mill. 
Tho' than hadft, &c 
7 

But fie, mufe, forbear, 

'Tis better by far 
No more of thefe charms to leveal ; 

Left theteby you might 

New rivals excite, 
And carry more facks to the mill. 

And carry, &c» 



Then fair one be kind, 

Nor with water and wind, 
Inconftant turn round with the 
wheel i 

Left when I am dead, 

It fllould truly be faid, 
Thy heart was a ftone of a mill. 

Thy hearty &c. 



The 




The <$)ttICS! Delight. 

The Rover. Set by Mr. Lampe. 



143 



*§s^s 



; B. 



^EtEffiEE 



$m$£&$ 



Who to win a woman's favour would fo-li--cit long in vain ? Who to gain a moment's plcafuie 



3k 



ffcfc 



^ 



as«r 



F^ 



s^^Si 



^^^^p^i^^i^Si^^' 



wou'd en— dure an age of pain ? I— dly toying, ne'er enjoying, pleas'd & fu— ing, 



3E^=I 



* 



P^=gjE§*g^ 






fond of ru — in, Made the martyr of difdain, made the martyr of d»f dain. 



j fflE££J^j^^g3 E|Ep ^=£ ^ 



ja 



■&dtt=z 



Give me, love, the beauteous ro- Frankly proffering all her Train'd to pleafe you, 

ver, charms : Glad to eafe you, 

Whom a general paflion warms j Never flying, Circled in her fuowy arms. 

Fondly bleffing every lover, Still complying, Circled, &c» 

The Ladies Cafe. Set by Mr. Gouge. 



^g^1 ^gl^ ^^|^^#^l^yJ^jsH 



How hard is the fortune of all woman kind ? For e — ver fub — je£ted for e — ver confin'd 



rBS 






tfXt 

:!±az 



iiEpi 



ii^ii^^^^^^^S^^H 



The parent controuls us un — lil we are wives, The husbands en — flave us the reft of their lives. 



Si^^l|§a^ggill^lPi 



If fondly we love, yet we dare to conceal 5 We're fham'd if we're kind, we're 

not reveal, Deny'd e'ery freedom of life to blam'd if we're coy* 

But fecretly languifh, compell'd enjoy, 



The 



The £&l\ft$ Delight. 

The Fly ; moderniz'd from Chaucer. Set by Mr. Arne. 



Allegro, m'a non prefto 



S5fg3£$ 



m^4=^^&& 



m 



0^- 



m 



-»-*- 



s~\ 



d ^s^^p^^a^a^^^ 



From fweet bewitching tricks of love young men your hearts fe- 



g: 



^feEfe ^O^ 



=± 



5=i^^ 



/-? 



v- 



A — ^— * 



HHp 



<r\ 



^> 



lg 



JV 



?^fe^ 



zrCnH— £z 



3bUjZ3t 



nv 



cure, left from the paths of fenfe you rove in do— tage prema— — ture } in do — tage 



3£ 



SS^l 



lit 



t^=£ 



fc 



ffi^^^=5 




§P^^^g 



pre ma — ture 



Look a Y : each lafs thro' wifdom's giafsj not 



H^^ HteEs 



tab 



— i»= — 9t -c — •• 



-V 



Igj^fe ^^^^ ^^^ ^g 



truft the na ked Eye ; Gallants beware 



Sd=|fc*=R±t*ffJS 



g@ 



^3*= 



look iharp take care the 



^^ %l^a^^E^±^^teJ^EEfe - 



blind eat many a fly, the blind cat many a fly 






Not 



The iJBttftS Delight. 



14? 



Not only on their hands and necks 
The borrow'd white you'll find j 
Some belles, when intereft direfis, 
Can even paint the mind : 

Joy in diftrefi 

They can exprefs, 
Their very tears can lie, 

Gallants beware, 

Look iharp, take care, 
The blind eat many a flic 



There's not a fpinfter in the realm 

But all mankind can cheat, 
Down to the cottage from the helm, 
The learn'd, the brave and great" 
With lovely looks 
And golden hooks, 
T'entangle us they try ; 
Gallants beware, 
Look fllarp, take care, 
The blind eat many a fiie. 



Could we with ink the ocean fill, 
Was earth of parchment made , 
Was ev'ry fingle ftick a quill, 
Each man a fcribe by trade 5 
To write the tricks 
Of half the fex, 
Would fuck the ocean dry j 
Gallants beware, 
Look fliarp, take cave, 
The blind eat many a flie. 



Florella. Set by Mr. Kilburne. 




igMg^ 



f^fet^^ 



light but fmiles fliou'd wear, To pleafe and blefs man— kind : With envious 




hafte old Time and care, will tar nifti e v'ry bloom ; then 




a» To that good-nature that appears brow 

In every thing ilie dees> Of age's hoary head : 

See with what pleafure ev'ry fwain Then give to fmiles and mirth 1 the 

The chearful Cloe views ; 3. hour, 

See with what joy they wear the Enjoy the prefent ftore ; 

chain, And that will pleafe when ev'ry Defraud not beauty of that pow'* 

All pleas'd whom flie fubdues : joy That kon will be 110 more. 
Tho' fair her face, divinely fair .' That beauty gave is dead ; 
Yet ihe hex conqueft owes And friendly fmooth the wrinkled 

Set 



146 



23 



The $$\xU£ Delight. 

Set by Mr. Arne. Sung by Mr. Beard. 



Jllegr 

Hggjgg 



E2® 








Ye Prigs 7 aic troubled $ confcience'squalms,Who ever are 



^m 



wm 



m 



-n- 



=3± 




^E^g^^ ^ 1 ^^^^ 1 ^^^ ^ 



praying or chant- of pfalms,Comeliften a while & I'll fing you afong fiiall open your eyes open f eyes, Shall 



3E^ 



^- 



t=£=4$±£3£ 



iESEfiZk 



^^ife^^ B 




3E35atfc: 



open y eyes & you'll fee right from wrong : In claret a- 






lone you Aid- place ally hope,there's more abfolution in y than yPope/Tis y famous elix-ir fa~ lutis of 



HE 



frd Jul 



^E^^^^gbptep^ 



,-fl- 



s 



-N-v-. 



'zNzac 



—9 



r?i 



■&- 



3f *j,8 — £l 



*-*^7- 



^ 



nnnm 



life, $ this you may face either devil or wife ; Face y devil, devil or wife, $ this you may face either 



^5 



=gEfeE5l3jEE f 



=)~P~^~ -»-=|— -=» 



1 ^5EJ^|5^gg 



Cho: /O - (\ 



3 



devil or wife, Face y devil, devil ot wife, $ this you may face or y devil or wife 



| ! ^E^r pz^|qE^EEg^^^^^^^^ 



Yobj 



The fl^ufeS Delight. 

The Beauties of Hampstead. Set by Mr. Eris. 



m 



an 



pair to coal — ing fhades ; 



Summer's heat the town in— vades, All re 



53 




i 




=£ 



1-* 



m 



y^ 



How in vi — ting, how de — light — ing, Are the hills and flow'ry meads ? 




Here, where lovely Hampftead 

ftands, 
And the neighh'ring vale commands; 
What farprifing profpetrs riling, 
All around adorn the lands* 



Here, ever woody mounts arife 5 
There, verdant lawns delight our 

eyes ; 
Where Thames wanders, in mean- 



ders, 
Lofty domes approach the skies. 



Here are grottos, purling ftreams, 
Shades defying Titan's beams, 
Rofy bowers, fragrant flowers, 
Lovers willies poets themes ! 



Of the chryftal bub'ling well, 
Life and ftrength the current fwell 



Health and pleafure, heavenly 

treafure, 
Smiling here united dwell. 

6. 

Here nymphs and fwains indulge 

their hearts, 
Share the joys our fcenes impart ; 
Here are ftrangeis to all dangers 3 
All — but thofe of Cupid's darts. 



The State of Little Britain. Set by Mr. Carey. 



J^E5a3^SBfi3^EEg^^^i 




Britohs where is your great magna — ni — mity, where's your boafted courage flown? 



ms^ m 



^^^ a 



Quite per — >ver — ted to pu — II -la — ni — mi — ty, fcarce to call your fouls your own. 



\m 



^^ ^ ^^j^^b}^^ 



What your aneeftors won fo vifto- Freedom now for her flight makes 

rioufly, preparative, 

Crown'd with conqueft in the See her weeping quit the fTiore -, 

field, Britain's lofs will be then paft coin- 

You'd relinquilh, and O ! moll in- parative, 

glorioufly, Never to I choid her moxe« 
To oppreffion tamely yield. 



Gracious gods, to affift exurgi-. 
tate, 
Stretch forth your vindictive hand, 
Make opreffors their plunder re- 
gurgitate, 
And pveferve a finking land. 



The 



i$x The S0UUS Delight. 

The Lafs of Pattie's Mill. Set by Sigr. David Rizzio. 

Andante. The Lafs of Pattie's Mill So bonny blythe and gay, In fpite of all my 



^^^M^^^^S 



PJ^I 



•~\ 



w 




Skill has ftole my Heart a way : When tedding of the hay bare head— ed 



i^^^^msg&E^s^B 



-JL 




^fesltiE 



on the Green, Love 'midft her locks did play, And wanton'd in her Ey'n. 



Sfeg 



m 



=£^1^^^ 



Her arms white, round and fmooth, 

Br eafts riling in their dawn ; 
To age it would gi youth 

To prefs 'em wi' his hand : 
Thro' all my fpirits ran 

An extacy of blifs, 
When I fuch fweetnefs found 

Wrapt in a balmy kifs- 



Without the help of art, 

Like flowers that grace the wild, 

She did her fweets impart 

Whene'er flie fpoke or fmil'd : 

Her looks they were fo mild- 
Free from afFefted pride ; 

She me to love beguil'd, 
Ife wifh'd her for my bride- 



O ! had I all the wealth 

Hopton's high mountains fill J 
Infur'd long life and health, 

And pleafure at my will > 
I'd promife, and fullfil, 

That none but bonny fhe- 
The Lafs of Pattie's Mill 

Should fhare the farm wi' me\ 



A Loyal Song, for two Voices. 




gEjSifesa^S^I 



God fave great George y king, long live our no— ble king, God fave the king : Send him vie- 



^fe^^^^^^P 



1 



Se& 



■© 



God fave great George y king, long live our no— ble king, God fave the king : Send him vie- 



fe^l^HEl^E^^^j ^S^^^ 



to — rious, happy & gic — rious, long to reign o— -ver us, God fave the king- 



m 



^^^^^&$k&&=f±^ ^E 



tg— iiobsj happy and glo— rious, long to reign o— —ve* us, God fave the king. 



The ^ttfeS Delight. 



i?3 



O ! grant that Cumberland 
May, by his mighty hand> 

Viftory bring ; 
May he feditioa hufli, 
And like a torrent rufh, 
Rebellious hearts to crufh, 

God favc the king. 



O Lord our God arife, 
Scatter his enemies, 

And make them fall : 
Confound their politics, 
Fruftrate their knavifli tricks, 
On him our hearts we fix, 

God favc the king. 



Thy choiceft gifts in ftore, 
On him be pleas'd to pour, 

Long may he reign j 
May he defend our laws, 
And ever give us caufe 
To cry with loud applaufej 

Godfave the king. 



The Life of a Beau. Sung by Mrs. Clive. 



aikp^^^^ i^-^j -^ ^^tegig 



rs f* r* r\ 



^^^^^^^g^^B 



How brim full of nothing's the life of a beau, they've 



Ill|jjgl|§ 




r^ r^ 




^^^q ^g ^r^pag^^^ 



nothing to think of they've nothing to do j they've nothing to talk of for nothing they know, fuch 

4 






fuch is the life of a beau, a beau, a beau, fuch fuch is the life of a beau- 



3: 



\^t=^f^^^^^^^^jm 



For nothing they rife but to draw 

•the frefh air, 
Spend the morning in nothing but 

curling their hair, 
And do nothing all day but fing, 

faunter and ftare. 
Such, fuch is the life of a beau. 



For nothing at night to the play- 
houfe they crovrd s 



For to mind nothing done there 
they always are proud, 

But to bow, and to grin, and talk 
nothing aloud- 
Such, fuch is the life of a beau- 



For nothing they run to th' aflem- 

bly and ball, 
•And for nothing at cards a fair 

partner call, 
For they ftill muft be beafted who 

have— -nothing at a!L 



Such, fuch is the life of a beau. 
S- 

For nothing, on fundays, at church 

they appear, 
For they've nothing to hope, nor 

they've nothing to fear ; 
They can be nothing nowhere who 

nothing are here. 
Such, fuch is the life of a beau. 



Sang 



u 



1^4 



The $BllU$ Delight. 



Sung by Mlfs Stevenson. Set by Mr. "Worgan. 



HE 



^B^il^H^^ri^^ft 




P^^^sl^^ 



is 



a 






^ 



L^B^ ^-P 11 : 



plain, Each day is at — tempt — ing my kindnefs. to gain ; 



a tea£p=£j^^^^ 



m 




He takes all oe — — ca»— fions his 



^^^EEE^^te^ , 




He fpares no rich prefents to make To Thyrfis, laft Valentine's day, That love is not purchas'd with 

me more kind, the dear youth, titles and gold, 

And exhaufts in my praife all the I tell him I plighted my faith and And the heart that is honeft can 

wit of his mind ; my truth ; never be fold •■> 

I fay I'm cngag'd and I wifli That wealth cannot peace and con- That I figh not for grandeur, nor 

* him to go : tentment beftow, look down on fiievv ; 

He asks me fo oft till I rudely fay And my heart is another's^ fo beg But to Thyrfis muft haften, and 

aoi he will go. not fay him no* 

He 



The ipttfeS Delight. iff 

$ force me to go, He haunts me each moment, to 

I pity his fuffering, but boldly fay make me fay yes ; 

fie heats me, and trembling all o- no. But to-morrow, ye fair ones, with 

ver replies, c Thyrfis I go, 

If his fuit I prefer not he inftantly And truft me, at church, that I 

dies 5 I try to avoid him, in hopes of will not fay no. 

He gives me his hand, and would fweet peace, 

Youth and Beauty. Sit by Mr. Harris. 




beauty foon de — cays, And time on ev'ry 




rm will feize, Then Ce- 




(fliade 



Behold the lilly as it grow», When nature's in her beft array, But when bleak winter's chilliiag 

White as thy fnowy breaft ; In fpring's gay robe attir'd j Deforms the gloomy sky, 

Obferve the fragrant blufhing rofe, When fmiling Phoebus gilds the day Their bloem decays, their gloriee 
Such rival fweets thy lips difclofe, Like thee they fhine, like thee look fade, 

Vie w thefe, and make me bleft. gay, Low is their pride of beauty laid, 

And arc liie thee admir'd. They droop their head and die. 



ifS 




The ^PttfeS Deli ght, 

By Men belov'd. Set by Mr. Stanley. 



By men belov'd how foon we're mov'd how eas'ly f perfuade how cas'ly f perfuade, f pleafe usfo who 



^ 



ggSJE 




m^^^^®^&^^^ 



can lay 



fav no or who'd die a maid ? Males for females heav'n intended, fo f heav'n mayn't be offended 



Sj ^^^^ ^^g^^^ l 



s\ ^c\ 



rs 



^m^^m^F 




he that firft makes love to me, fiiall find I'll be as fond as he, fliall find I'll be as fond as he 




^^PP 



A tender maid, at firft tho' ftaid, Is what file can't approve : Women too, by all cpnfcft. 

When once file thinks of love, Fruit when young eats then the When young they re kilt kiis then 

When once, &c fweeteft, the belt- 

Will freely own, that lying alone Looks the gayeft and the neateft ; When young, Stc 

The Happy Beggars. Set by Mr. Eaton. 



&E 



Tho' Beggingis an ho — neft Trade $ wealthy knaves defpife, Yetrichmenmay be Beers. made& 




~ f~\ '/*\ '.,**. >-N _ ^N >-v ^ 



S~S /-x 



^^SSSiill 



we that beg may rife: The greateft Kingsmay be betray'd, & lofe their fov 'reign Pow'r ; But 



a- 



SL 



gJ ^ Jfe^f ^l^^^f p 1 ^ 



e_L 



S~\ /~s S~\ /^ 



he f ftoops to ask his Bread, but he f ftoops to ask his Bread can ne ver fall much lower- 







Tho' 



The ^itfeS Delight. 



1T7 



Tho' foreigners have fwarm'd of late 

and fpoil'd our begging trade, 
Yet icill we live and drink good ale 

tho v they our rights invade ; 
Some fay ihey for religion fled, but 

w ifer people tell us 
They w ere iorc'd here to feek their 

bread, for being too rebellious- 



Let heavy taxes greater grow, to 

make our army fight, 
Where 'tis not to be had, you know 

the king mufl: lofe his right ; 
Let one fide laugh the other mourn, 

we nothing have to fear, 
But that great lords will beggars be 

to be as great as we are. 



What tho' we make the world be- 
lieve that we are fick or lame, 

Tis now a virtue to deceive, our 
teachers do the fame : 

In trade dilfembling is no crime, 
and we may ljve to fee 

That begging, in a little time, the 
only trade will be- 



The Happy Swain. Set by Mr. Worgan. 

<n kp ^"""' ^"^ f£ > 

gpllligjgjli 



gg ffi&^ gjjjigEpi: 



As Da mon on a fummer's day be— neath a fliade be gan his lay, The 




wa ters murm'ring pafs'd a — long, well pleas'd to hear their Da mon's foag : 




=£ 



£^ g 



j =S=r 



W aMmMm 



His theme was- love, for De — lia's charms had won 



jESfettEJfeS 



£=f 




the fhepherd to hei arms. Had won f fliepherd to her arms. 



a Fr ^-g-^r^^^t^^^^^^^^ 



loves 

How bleft am I, who only know That Delia's kind, &c. 

The joys of love, that ever flow ; 
Dear fcenes of pleafure now ap- 3. 

pear, 
And love is all a Damon's care : Delia) as Morn, is true and fair 

Hear then, ye warbling birds and Sweet as the role and violet are : 

grpvesj 



That Delia's, kinc$, and, Damon, Our hearts in mutual blifs fliall 



live, 
( No more can bounteous Nature 

give ) 
And every tree our paffion tell, 
That fliepherds liv'd, and lov'cL 

fo well. 
That JhcpherdS) &c» 



ij-S The J^ttftg Delight, 

The Jolly Bacchanalians. Set by Mr, Galliard, 



■d 



31 



ip^^p.^^^ 



Jolly Mortals fill your GlafTes, No ble Deeds are done hy Wine 5 Scorn the 



Q= 



3£ 



- — * 



PX 



£=ph*=fc=p 



^~N 



^^ffN^i^N^ 



i3C 



w_ s^f-. 



nymph, fcom the nymph and all her Graces ; who'd for love or beauty 



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2. In that moment to be kind. He fubdu'd the world by drinking 
in that moment, &c More than by his conquering 

Look within the bowl that's flow- fword, 

ing 3. More than, 6ce» 
And a thoufand charms you'll 

find Alexander hated thinking, 

More than Cloe when juft going Erank about at council board ; 

The Hunting Song in Apollo and Daphne. 






The fweet rofy morning peeps over the hills, With blufil — es adorning the 



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meadows and fields. The mercy merry merry born calls come come come 




way, A wake from dull Hum — hers and hail the new day< 




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a. White 
Stall 

The flag touz'd before us Chorus . 

Away teems to fly, 
Anil pants to the chorus 
Of hounds in full cty : 

Then follow follow follow follow The day's fj 

The muiicaJ. chace, Makes Wo 

Stella and Flavia 



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Stel— la and 



Flavia ev'ry hour. 







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More biimdiefs Fla — viaV con quefts are, And St;l — la's' tneie con — i 




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fm'd ; All can dif cern a face that's fair, But ; few a heav'niy mind- 




Stella, like Britain's monarch, To rule o'er barren fands 5 Thy beauty's only ftore , 

reigns Jjlke eafiern tyrants, &c Each day that makes thy charms'- 

O'er cultivated lands ; Then boaft, fair Flavia, boaft thy decreafe 

Like caftan tyrants Flavia ieigns face, Will yield to Stella mo-e? 



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.enefs may trace, Or abfence may cure all my pain : This faid, from her charms I re- 



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tir'd, Nor knew I till then bow I lov'd ; What pre — fent my paf— fion ad-mir- 




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Ah ! why fhould I hope for re- No pity in her for my grief, eafe ; 

lief, Mo merit in me to complain- Still proud of th choice I have 

Where all that I fee is dif- Nor yet do I fortune upbraid, made, , 

aaiii ! Tho' robb'd of my freedom and Tko' hoyelefs it ever can plcae-